On Outsider Music I: Lubomyr Melnyk’s “Cloud Passade No. 3”

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“The piano and its sound are as much a part of the music as the notes.” – Lubomyr Melnyk

I recently came across some piano music of Lubomyr Melnyk. He makes what he calls “continuous motion” music which involves playing rapid and continuous patterns up and down the keyboard for very long stretches while keeping the sustain pedal down. The effect is a hypnotic, waterfall-like sound wall. The music is very tonal and consonant harmonically, and has a steady, if somewhat frantic, 12-beat pulse. The continuity, consonance, and length of Melnyk’s pieces create a kind of heightened state. As you listen you hear little inherent patterns within the patterns as your ears latch onto different note combinations, and if you’re like me, feel non-musical things. (Isn’t that the point of music?)

Here is a three-minute excerpt taken from three-quarters of the way through a 17-minute performance of Melnyk’s “Cloud Passade No. 3:

A few observations about the music. First, despite its speed, Melnyk’s playing doesn’t feel physical or strenuous–it just feels flowing, which is itself a musical-technical accomplishment. Second, his chord choices are subtle and unusual–they don’t seem to follow the conventional logic that this style of music would suggest. Third, the music is reminiscent of some classic minimalist fare–leaning more towards Philip Glass’s romanticism than Steve Reich’s asceticism–yet Melnyk’s work has its own agenda too. Fourth, this piece raises the question of musical canons and repertoires, and insiders and outsiders vis-a-vis musical traditions–specifically about how it comes to be that some composers rather than others have their voices widely heard, and how it is that some musical gestures rather than others are spread far and wide and ultimately accepted. Finally, as I listened to this piece I found that I wasn’t thinking about music per se, just enjoying a waterfall sound wall. As the music constructed an array of emotions in me, I stopped thinking about its precedents or its stylistic brethren. That’s often a sign that a music is doing what every music aspires to do: create a space in which feeling and intellection can celebrate together over the sounds’ meaningful fire.

One thought on “On Outsider Music I: Lubomyr Melnyk’s “Cloud Passade No. 3”

  1. I’d just like to say, as a result of reading this post I’ve explored Lubomyr’s music, fallen in love with it, and even corresponded with him – thank you so much for introducing his music to me – as well as for the awesome blog in general! tom

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