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Joseph Petric (accordion). Composed by Robert May (1994). Recorded June / September 2021 at the studio of Peter Lutek (Toronto). Album Artwork by Andrew Zuckerman. Liner Notes by Nick Storring. Robert May’s shimmering meditation Fadensonnen (1994) affords more patience and vulnerability to its sparer moments. For this reason, Petric regards the piece as a companion to Low Tide, which he commissioned around the same time from Linda Catlin Smith— a composer widely noted for her spacious poignancy. In accordance with Paul Celan’s poem “Fadensonnen,” May mimics the behaviour of cloud-filtered sunthreads; its chords swell and recede in volume, in their pitch contents, and even in hue. At points Petric introduces subtle variations in amplitude that further illustrate undulations of light and sound suggested in Celan’s poetic text. Throughout the work, May employs two different harmonic techniques. On one hand there’s the more common mode that’s driven by pitch interests, however he also uses another approach that’s strictly driven by colour, almost as though he’s working with organ stops. This subtle effect sees him tinting melodic figures using parallel intervals such that the layered notes fuse together into a single liminal coloration outside of the instrument’s usual voice. (Nick Storring)