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ERIK HALL

Metropolis Ensemble, Erik Hall & Sandbox Percussion

Canto Ostinato

"Sometime in 2020 I listened to Canto Ostinato for the first time, and my enthrall- ment with the piece had begun. I was transfixed by its particular amalgam of harmony, repetition, and pacing. By the spring of 2023 I had constructed and released my own solo interpretation, and I assumed at that point my working relationship with the composition had run its course. But I underestimated its magnetism. The following year I was back in its grips, having been invited by Metropolis Ensemble’s Andrew Cyr to expand on the foundation I had laid with the piece. Soon I was in Brooklyn, on a newly-formed team of six with Cyr and the members of Sandbox Percussion, thrilled to be helping architect a brand new large-ensemble arrangement of Canto Ostinato for a summer solstice perfor- mance at the Brooklyn Botanic Garden. We did so, our cohort growing to include the students of The New School’s Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. It was a day we will all remember—sweeping, dreamlike, and what felt like a quintessential culmination. But even then... the piece still beckoned, and it became imperatively clear that this new orchestration called for the embarkment on a studio album—a permanent document of our now-collective ardor. Refined over a year and recorded in New York, 2025, this performance recasts the piece anew in a towering framework of mallet percussion, woodwinds, strings, and piano. It is our truest attempt at conveying Canto’s beauty and magnitude in all its kaleidoscopic harmony, dynamism, tension, and release. I stand once again in awe of Simeon ten Holt’s monumental creation, and to be a thread among this particular sonic fabric is one of the great pleasures of my musical life. I don’t assume we might be so fortunate again... but who knows..."
- Erik Hall

TRACK LISTING

1. Sections 1-16
2. Sections 17-30
3. Sections 31-40
4. Sections 41-55
5. Sections 56-73
6. Sections 74-87
7. Sections 88-90
8. Sections 91-94
9. Sections 95-106

Erik Hall

Solo Three

There is a certain solace to be found in minimal music—a contemplative joy that emerges through sustained repetition and subtle variation. 'Solo Three', the slyly absorbing new album from Michigan-based composer and multi-instrumentalist Erik Hall, embodies that hypnotic charge while boldly reimagining a distinct selection of contemporary classical works.

Hall’s affinity for minimalism began decades ago, when as a jazz-studies drummer at the University of Michigan he first encountered Steve Reich’s 'Music for 18 Musicians'. The piece altered his trajectory completely. Years later, amid a creative lull, he revisited that formative work by attempting a solo reconstruction. Working alone in his home studio, Hall painstakingly recreated Reich’s intricate, interlocking architecture—supplanting the piece’s orchestral palette with instruments he had on hand—and performing every part himself without loops, programming, or sequencers.

That recording, released on Western Vinyl in 2020, arrived during the fraught early months of lockdown and resonated deeply with listeners. Pitchfork praised it for making “a minimalist standard freshly thrilling to revisit,” and it won the 2021 Libera Award for Best Classical Record. Even Reich himself wrote to congratulate Hall, saying he had “reinvented the piece.” With 'Solo Three', Hall brings this trilogy to a sweeping close. Instead of focusing on a single composition, he weaves together multiple works by several visionary composers: Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and a return to Steve Reich.

The result is a rich, varied homage to American minimalism—at once reverent and exploratory. Branca’s 'The Temple of Venus Pt. 1' unfolds in oscillating organ and prepared piano; Palestine’s 'Strumming Music' becomes a meditative blur of felted piano and guitar; Spiegel’s 'A Folk Study' is recast with acoustic warmth in lieu of electronics; and Reich’s 'Music for a Large Ensemble' closes the album with a 16-minute, kaleidoscopic rush of overlapping melodies and jubilant rhythmic patterns. True to his method, Hall performs and records every part himself, layering instruments one by one like sonic bricks. The approach is deeply human and quietly defiant in an age of faceless automation. “It’s just so much more compelling to actually play every note,” Hall says. “Those micro-differences between takes create a sort of living, breathing magic.” That living, breathing magic fills every corner of Solo Three. It’s both a reverent ode to the composers who shaped Hall’s musical identity and a vivid reminder that minimalism’s hypnotic beauty—its patience, precision, and quiet emotional power—still speaks urgently to the present moment.

TRACK LISTING

1. The Temple Of Venus Pt. 1 (Glenn Branca)
2. Strumming Music (Charlemagne Palestine)
3. A Folk Study (Laurie Spiegel)
4. Music For A Large Ensemble (Steve Reich)

Erik Hall

Canto Ostinato

In the fall of 2021, Simeon ten Holt's "Canto Ostinato" was reborn in a 'solo version for seven keyboards'. During the weeks leading up to the birth of his son Lark, Erik Hall moved methodically among the instruments in his recording studio, conducting a multi-track conversation with himself and the piece's score. Ten Holt composed "Canto Ostinato" between 1976 and 1979. The rhythmic motif (ostinato) repeated over its entire length has a limited number of printed notes. It is up to the performers how to play them, for how long, where to place accents, etc. In the score, the composer calls on musicians to interact and evaluate, to fuse sounds and colors into one cohesive musical universe. Then a cosmos is created. You can get lost in that. You want to get lost in that, like in the original live recording with four pianos. "That performance is deeply compelling, almost otherworldly," says Hall. He has always been drawn to music that is based on repetition, harmonically rich, and tonal. He previously added a groundbreaking dimension to Steve Reich's 1976 minimal masterpiece "Music for 18 Musicians", and– as again now with 'Canto'– his motivation is the love of the music itself. "When I first heard the piece, I was captivated." Then the plan emerged to undergo the same focused practice as before. He stacked seven total layers of his 1962 Hammond M-101 organ, a 1910 Steinway grand piano, and a 1978 Rhodes electric piano, each performance informed by those that preceded it. Erik Hall's "Canto Ostinato" lasts for one hour, and from the sheer joy of playing this wondrous composition emerges an elegantly meandering journey. In it, music rises above itself, higher and higher, like a lark jubilating freedom in the sky. 

TRACK LISTING

01 Sections 1-16
02 Sections 17-30
03 Sections 31-40
04 Sections 41-55
05 Sections 56-73
06 Sections 74-87
07 Sections 88-90
08 Sections 91-94
09 Sections 95-106 


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