Tristan Perich & James Mc Vinnie - Infinity Gradient
Tristan Perich & James Mc Vinnie
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James McVinnie joins forces with New York composer Tristan Perich on Infinity Gradient — a bold, hour-long symphony for pipe organ and 100 speakers in 1-bit audio. Recorded at London’s Royal Festival Hall, where McVinnie was artist-in-residence in 2024, the work transforms the concert space into a kinetic field of sound and light.
Perich’s speaker arrays — four subwoofers, twenty-four mid-sized, and seventy-two small — envelop the hall’s 7,866-pipe organ in a dialogue between air and electricity, centuries and circuits. The piece extends Perich’s fascination with minimalist electronic systems, following works such as Surface Image for piano and 40 speakers, which first inspired McVinnie to commission this collaboration.
Both artists were drawn to the shared “on-off” nature of their instruments: the pipe organ’s air-driven tone and Perich’s binary pulse. McVinnie calls the result “a supremely human experience,” merging mathematical precision with emotional depth. The Royal Festival Hall organ — designed by Ralph Downes as a modern rethink of Baroque principles — provides the ideal counterpart, alive with resonance and fire.
Perich’s music finds beauty in simplicity and structure, translating physics and code into emotional form. With Infinity Gradient, he and McVinnie offer a rare synthesis of technology and tradition — a sonic architecture as intellectually rigorous as it is profoundly moving.
Perich’s speaker arrays — four subwoofers, twenty-four mid-sized, and seventy-two small — envelop the hall’s 7,866-pipe organ in a dialogue between air and electricity, centuries and circuits. The piece extends Perich’s fascination with minimalist electronic systems, following works such as Surface Image for piano and 40 speakers, which first inspired McVinnie to commission this collaboration.
Both artists were drawn to the shared “on-off” nature of their instruments: the pipe organ’s air-driven tone and Perich’s binary pulse. McVinnie calls the result “a supremely human experience,” merging mathematical precision with emotional depth. The Royal Festival Hall organ — designed by Ralph Downes as a modern rethink of Baroque principles — provides the ideal counterpart, alive with resonance and fire.
Perich’s music finds beauty in simplicity and structure, translating physics and code into emotional form. With Infinity Gradient, he and McVinnie offer a rare synthesis of technology and tradition — a sonic architecture as intellectually rigorous as it is profoundly moving.
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