Erik Friedlander | American Power

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Avant Garde: Avant-Americana Classical: Modernist Moods: Mood: Brooding
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American Power

by Erik Friedlander

Art meets Audio - Photographer Mitch Epstein and cellist Erik Friedlander have collaborated on a new limited edition LP entitled, American Power. Signed by both artists, 6 new solo cello compositions, gate-fold artwork by Mitch Epstein, with 24x36" poster
Genre: Avant Garde: Avant-Americana
Release Date: 

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  Song Share Time Download
1. I. With Speed [Electricity]
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3:44 album only
2. II. Flowing, Grand [Water]
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4:00 album only
3. III. Freely, With Forward Motion [Solar]
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3:56 album only
4. IV. Steady, Solemn [Crude]
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5:27 album only
5. V. Lurching, Unstable [Fission]
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2:16 album only
6. VI. Elegy [Decision]
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4:11 album only


Album Notes
LP Produced by Mitch Epstein & Erik Friedlander
Music Produced by Erik Friedlander
LP Designed by Takaaki Okada & Ryan Spencer
Mastered by Steve Berson at Total Sonic Media
Recorded at Excello Recording, Sepetember 22, 2011
Engineered by Scott Solter
Edited by Erik Friedlander at ArconomX

All music is performed and written by Erik Friedlander

“American Power Suite”
I. with speed [electricity] 3:48
II. flowing, grand [water] 4:01
III. freely, with forward motion [solar] 3:57
IV. steady, solemn [crude] 5:27
V. lurching, unstable [fission] 2:16
VI. elegy [decision] 4:00

Mitch Epstein and I met at at a coffee joint in lower Manhattan one Spring morning of 2011. We talked about his his book, “American Power.” Mitch was accepting a prize for the collection and wanted to to mark the occasion with a special presentation that might include music. He suggested I take a look at the book and see if the images kindled any musical ideas. In some photos the grandeur of the structures needed to harness energy from raw materials triggered memories of my little boy’s fascination for big machines. In others, the stark effects of accommodating the power industry in one’s neighborhood were evident and sobering. I didn’t feel these stories needed retelling, however, or craved a score. I was led instead to the source, the power itself: electrical power, hydraulic, solar and nuclear power -- the pace, the heat, the flow as I imagined it, drove my composing and created the backbone for the suite.

I wrote technically challenging music -- fast tempi and tricky hand positions -- and in the weeks leading up to the first live performance I realized that the music was quicker to write, than it was to learn how to play! Mitch and I presented a collaboration of picture and music at Les Rencontres d’Arles in June of 2011, and the experience was instructive. Working with the photos in this live situation taught me how to pace the music and where to place improvisation -- crucial information I relied on in recording the pieces for this special project.

Equipment: Luis & Clark carbon-fiber cello, #348, Milton, MA USA; bow made by Louis Gillet, Paris, France, @1950. The music was recorded at 88.2 kHz, 24-bit using ProTools HD, but then transferred through analogue gear by Steve Berson during mastering and recaptured at 44.1/16-bit.


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