This piece delves into the captivating soundscapes created by Susan Alcorn, focusing on her innovative use of the steel guitar across a series of evocative musical compositions. Drawing inspiration from diverse sources, from Buddhist philosophy to modern classical music, Alcorn’s work showcases the versatility and expressive potential of the steel guitar in contemporary music.
The Heart Sutra: Form is Emptiness, Emptiness is Form, and Music is Vibration
Alcorn’s interpretation of the Heart Sutra, a cornerstone of Mahayana Buddhism, opens with a meditative recitation. Using the steel guitar in a predominantly monotone fashion, she mirrors the sutra’s chanted delivery. This piece, “The Heart Sutra,” emphasizes the core Buddhist teaching that “Form is Emptiness” and “Emptiness also is Form.” Alcorn translates this profound concept into sound, where every note and vibration on the steel guitar is both substantial and ephemeral, existing within a larger emptiness. The subtle shifts in pitch, marked by minor thirds for the Buddha’s name and octaves for emphasis, highlight the interplay of sound and silence, mirroring the sutra’s exploration of reality’s dual nature. The focus here is not on melodic complexity but on the resonant qualities of the steel guitar, drawing attention to the overtones and the delicate dance of vibrations that bring the single unison notes to life.
And I Await the Resurrection of the Pedal Steel Guitar: An Homage to Messiaen and a Hope for the Instrument
“And I Await the Resurrection of the Pedal Steel Guitar” is a deeply personal piece, inspired by Olivier Messiaen’s monumental “Et Exspecto Ressurectionem Mortuorum.” Alcorn recounts her powerful first encounter with Messiaen’s work, an experience that resonated deeply and continues to influence her. This composition serves as both an homage to Messiaen and a poignant reflection on the current state and future potential of her instrument, the pedal steel guitar. Alcorn envisions the entire instrument – its physical components, from the legs and pedals to the strings and pickups – as a storyteller. Through her music, she seeks to unlock the latent voice of the pedal steel guitar, expressing a hope for its resurgence and a future where it can once again “sing its own song – a song with a sense of majesty, ecstasy, and beauty” comparable to Messiaen’s profound compositions. The piece shares the opening three notes with Messiaen’s work, establishing a musical lineage while forging its own distinct path.
The Glass is Already Broken: Poetry in Sound
“The Glass is Already Broken” takes a different approach, directly inspired by Richard Todd’s poem “Broken Glass.” This piece underscores the steel guitar‘s capacity to translate poetic imagery and emotional nuances into sonic form. While the description is brief, it suggests a collaborative dialogue between poetry and music, where the steel guitar becomes the voice of Todd’s evocative words.
The Turning Wheels: A Conversation in Music
“The First Turning of the Wheel” and “The Second Turning of the Wheel” are presented as interconnected pieces, conceived as an “open letter” to Bob Graettinger, known for his innovative work with Stan Kenton. Graettinger’s music, characterized by its “stark landscape of urban alienation, existential loneliness, and musical beauty,” serves as a key influence. These compositions are described as a “silent conversation” – a musical dialogue with a kindred spirit. Alcorn uses the steel guitar to convey complex emotions and unspoken understandings, like a “Soft hand on the shoulder. Touch to impart what in words is inexpressible.” The second turning is a continuation of this conversation, exploring similar themes with subtle shifts in “touch, sound, and emphasis,” demonstrating the steel guitar‘s ability to articulate nuanced emotional landscapes.
Three Minute Warning: Hope in the Face of Uncertainty
“Three Minute Warning” reflects a contemporary sense of unease and uncertainty about the future. Alcorn acknowledges the struggle to maintain optimism in the face of global challenges. However, the “warning” itself contains “a glimmer of hope.” Music, in this context, becomes that hope. Alcorn sees music, and by extension her steel guitar playing, as a vast universe of potential, residing “within and between each note, each sound, each breath, and every smile.” She invites listeners to awaken to this inherent melody, a “primordial song of the heart” that is both “dark and mysterious” and yet deeply familiar. The steel guitar here embodies this duality, expressing both the anxieties of the present and the enduring hope for a brighter future.
Conclusion: The Enduring Voice of the Steel Guitar
Susan Alcorn’s work, as exemplified by these pieces, reveals the steel guitar as far more than a traditional country instrument. She positions it as a versatile and deeply expressive tool for exploring complex emotions, philosophical concepts, and musical dialogues. From meditative soundscapes to poignant reflections on the instrument’s future, Alcorn’s compositions showcase the unique and compelling voice of the steel guitar in contemporary music.
