A mechatronic journey

Mechanical Ballet, Stephen De Pledge and Sarah Watkins (pianos), Stroma, directed by Michael Norris. Hannah Playhouse, March 16 & 17

This was an intriguing concert which took us on a journey through ‘‘musical mechatronics’’ . Four composers from the VUW School of Music offered their mechanical/electronic thoughts besides two of 20th century music’s more fascinating characters. And it was the works by minimalist Steve Reich and the infamous George Antheil that made this concert special.

The first-half gave us the astonishingly programmed automated drum kit of David Downes, the equally complex ‘‘Rasping Music’’ of Moe Zareel with the unsettling strobe effects of his raspers, the automated bass drums and tam tam of Michael Norris and the eerie mechatronic speakers of Bridget Johnson. But Drumming from 1970 by Steve Reich was the half’s centrepoint.

The second-half began with more Steve Reich – his Piano Phase from 1967 – with the two pianos of Stephen De Pledge and Sarah Watkins. This piece of unrelenting minimalism required astonishing precision and coordination.

George Antheil’s Ballet Mechanique (1926) started life as the proposed music for a Dadaist film by Ferdinand Leger, but its impossible configuration for no less than 16 player pianos made it an impossibility. Here it had two pianos, three player pianos (discclaviers) and assorted automated percussion, plus the whirling propellers intended for the film. The effect was one of irresistible energy, thanks to some wonderful playing.