Bringing silence to life

A great architect once pointed out the widespread misunderstanding that his art was about matter such as bricks and concrete. Though matter is what leaps to the eye, architecture is fundamentally about creating space, he said. Likewise, composing music is not only about notes, but the silence that makes the notes possible. If, rarely, their roles are reversed, it’s usually to make an argument. In the 1960s, American composer Terry Riley made history by presenting a final project in the course of his studies that consisted only of silence. The string quartet came on stage, sat down, counted measures of silence and departed, leaving the examination board in confusion.

Dutch composer and bass clarinet player Muso (Frans Moussault) made it his mission to bring life to silence and silence to life. His work is inspired by the Japanse komuso, wandering Zen monks whose spiritual practise includes playing the shakuhachi (bamboo flute). He studied with master Nyosho Jin in Japan to gain experience with the unity between player and instrument at the core of this age-old tradition. His artist name, “Muso,” isn’t only based on his family name, but is an homage to Zen master Muso Kokushi, who once pleaded for the highest form of refinement and concentration in art.

On Oceanchild, Muso’s second CD, the blending of bass clarinet and shakuhachi makes this ancient meditative art form more accessible to untrained Western ears. Sparing and stately, the melodic lines wind around each other. Quite remarkable is the “overtone singing” Muso sometimes practises on his instrument, which results in two tones sounding simultaneously.

“Listen in silence,” reads the advice on the back cover. That’s not necessary, however, since Muso’s music is so magical it generates silence by itself. Simply listening suffices.

Find out more: www.bloomline.net/muso