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SUZANNE CIANI:
Dreamy Waves of Music
A versatile, sensitive pioneer
and a skilled pianist, this magnificient composer and
music producer has inspired an entire age with her innate
talent which she displays in a variety of fields within
the musical panorama of the moment. Her origins and her
evolution in the musical arena are an object lesson of perseverance,
hard work and courage which explain her utter success in
the career this artist has chosen for herself.
Suzanne
Ciani, the granddaughter of an Italian
immigrant who reached the United States in 1905 to stay,
and the daughter of a famous surgeon who got to be number
one of his promotion at the University of Harvard,
whose Iowa-born mother also was half German and half
British, began to enter the realms of music at an early age,
at seven, when she stubbornly struggled to copy two of her
elder sisters who at the time were having piano lessons
at home. However, she disliked her first teacher, since
she wanted to learn classical music and he insisted on
teaching her pop music. Suzanne
learned to read music on her own, and after only one year
of classes with that teacher, she would keep on learning by
herself in the next ten years, as she herself explains.
During her high school years, she would find a good piano
proffessor at the Longy School of Music
in Boston, who would give her some private lessons,
beginning at the beginning, with scales and all that
stuff, and soon after Suzanne
majors in piano and composition at the Wellsley
College.
Later she enters Berkeley, where
she gets a degree in musical composition, and at the time she
gets to know a MIT professor who is
experimenting with his computer so as to make it sound
like a violin, which attracts her attention greatly.
There it is where she also gets to know Don Buchla,
a fact that will introduce her into the world of musical electronic
technology. As she finishes her studies, Suzanne gets to work
for Don, in the assembly line for his
synthesizers. The artist gets enthusiastic about the
flexibility of the devices designed by this pioneer of
musical technology, keyboardless as they are, whose
functioning is based on the control of the necessary
voltage to produce the synthesized sounds, in an instrument
that was to become the predecessor of analogic synthesizers,
and she gets to know them inside out, so that to her, her Buchla
- a modular device that would take her some time to build
with different components that she acquired as soon as she
could afford them - becomes her favourite synthesizer.
During
a summer course with John Chowning in
the early seventies, Ciani
gets to know the, at the time, recently discovered synthesis
FM, and she also contacts Max Matthews,
who is considered to be the father of computer music, in
Stanford, at the Artificial Intelligence Lab,
where both of them apply Max's program Music
V to create music in the primitive computers of those
times. So as to widen the range of possibilities her Buchla offered
her, thanks to the addition of new elements, Suzanne tries to
find a job as a sound engineer, an impossible thing then,
just because she was a female. After some other failed attempts
to find different jobs unrelated to music, at last she gets a
chance to find one in the advertising world, thanks to a friend's
friend who had an acquaitance of a movie producer. It is then
that Suzanne enters
the world of producing commissioned sounds for
advertisements, which provides her with enough funds to
found her own business, Ciani/Musica,
which specializes in the creation of music and sound
effects for ads. At a rate of some fifty weekly sessions, Ciani designs
sound effects for different firms, among them, Lincoln/Mercury,
American Express, General Electric, Atari, General
Motors, Columbia Pictures, and Coca-Cola.
Actually, one of the most popular sound effects of this
period is her creation of the sound of a Coca-Cola
bottle popping open and the drink being poured, a
simulation she created with her Buchla,
not to mention her participation in the design for the AT&T
telephone company sounds, among other projects Ciani was in
charge of then. Since this was a very innovative approach to
the advertising world, Suzanne
achieves a solid reputation in this sense.
Besides the technical
applications the artist gives to her knowledge of musical
electronic technology in the advertising arena, Suzanne does not
neglect her musical career. Already in Berkeley
she has occasionally performed live, at museums and other
places, as well as in LA, where she settles for a time. In 1974
she moves to New York, a city that thrills her, where she
has been invited to give a concert at the Chic
Bonino Gallery. Suzanne
gets a job at the recording studio owned by Philip
Glass, and after several drawbacks she decides
to found a non-profit corporation she calls The
Electronic Center for New Music with a view to
promote the new musical technologies. Suzanne was
already cooperating with the group EAT
(Experiments in Art and Technology), an association of
artists and technology experts who used to collaborate in different
projects. Furthermore, they were supported by a lawyer, Gerald
Ordover, who offered them his services for free. Unfortunately,
her illusions were not corresponded by the sponsors and
manufacturers of musical technology, who did not trust a
virtually unknown woman at a time when synthesizer music was
but science fiction to the eyes (and ears) of the great corporations. Suzanne realized
that the only way for her to achieve her goals was to
enter the world of the record labels, release enough
albums as to guarantee her a name, and perhaps then
someone would pay her the attention she needed.
Nonetheless, the record labels were as unfamiliar with
the new technologies, and to them a synthesizer was
something incomprehensible, therefore she would find no
one in Europe or in America to give her a chance. Suzanne did not
let this hinder her, and she decided to produce her first
album, Seven Waves, by herself. It would take
her two years to do it, since at the beginning she could
only afford her weekends, as she needed the rest of the week
for her advertising job, not to mention the fact that her budget
was hardly enough to hire the sufficient recording time
at a studio to produce her own music, since the available
technology was then much more primitive than it is nowadays.
Curiously enough, this first album that interested no one
in Europe or America, despite all her efforts to promote
it, becomes an incredible hit... in Japan, of all places! Suzanne had not expected
such a success after her bold move to that country, where
she received several offers after a mere few days there. The
album is released by the Victor Co. in
Japan. Soon after, an American recording label, Atlantic
Records, accepts to release this record in the
USA. Nowadays, both this and the Japanese version have
become a collectionist item, as well as a previous release
that Suzanne
got to make with Harold Paris for an exhibition
in Brussels (Belgium) called Voices of Packaged Souls
prior to Seven Waves, in 1970, for a limited
edition, made at Stanford with the computers of the time.
Likewise, Private Music would re-release
the album Seven Waves much later.
The
second album by Suzanne
Ciani, The Velocity of Love, was released
by RCA in 1986, some time before this
company was bought by BGM, that
eliminated the artist from their list. Luckily, Suzanne keeps the
rights for this album, since she had not signed a
standard contract with RCA. It is at
this time that Suzanne Ciani
contacts Peter Baumann in New York when
he moves to the USA after leaving Germany. Peter
finds out that Suzanne
has the latest in synthesizers and drum machines, so he
phones her for a meeting. This is how Ciani gets
involved with the label Private Music. Peter
would have been interested in releasing , The Velocity
of Love in his label if Suzanne
had accepted to record it in digital form, which the
artist refused to do. Even so, later on, in 1987, Ciani signs a
contract with Private Music which was to last
for a mere five albums. This fact would establish Ciani's fame as a
keyboardist of the New Age Music school.
The label Private Music releases her
album Neverland, which is nominated for a
Grammy, inspired in her life experiences. Suzanne explains that
the music for this recording came to her mind in the Netherlands,
on a day she had gone for a horse ride, and her music is
at the same time very electronic and romantic. In this record
she includes a poem by a writer she admires a lot, Ilse Bing,
who at age 90 writes it for her. After this album the
label Private Music releases History
of My Heart, composed in California, at a time when Suzanne, having
created her own studio Ciani/Musica, as
has been explained above, so as to finance her own
productions, believed she could leave and let her
business go on without her, yet she was wrong, as her
employees and friends would not let her go. She managed
to escape to California to record this one with a team of
Californian musicians, even so. Yet at the time the label Private
Music was moving to LA as well, and in the
process her record is lost, which affects her so much that
she feels unable to record anything else for them. Peter Baumann
convinces her to produce a classical piano album, which comes
to be released as Pianissimo. This new album is
a turning point in Suzanne's
career, as having for so long been devoted to electronic music,
she had almost forgotten about purely acoustic instruments.
This album is cheaper to produce than her electronic ones,
and is sponsored by Yamaha, that supply
the pianos the artist uses, as well as their own
recording studio at Buena Park, in the county of Orange.
In
1989 Ciani
travels to Italy in search for inspiration for a new album.
During her stay in her country of origin, Suzanne has a
chance to get to know her Italian relatives. As she keeps looking
for the ideal site to get her inspiration, she arrives to Capri,
where she contacts Yamaha. Suzanne
establishes her studio and residence there. It is in this
place where she records her album Hotel Luna,
referring to a hotel that was then closed to the public
during the winter season. In essence, this album reflects Suzanne Ciani's
Italian soul, and is basically electronic, even if it
includes some passages with acoustic instruments, like
for instance a string quartet, oboe, bassoon, flute, a
solo violin, bass and operatic soprano, plus a Roland Spatial
Modulator. After a careful production (which
would turn out to be rather expensive indeed) the album
was ready. This recording is nominated for a Grammy, and
yet Suzanne
had some disagreements with Private Music with
respect to its being released. This is why Suzanne feels
unhappy and unwilling to release a new album with this
label. Peter Baumann once again convinces
her to release a compilation of previous works to which two
new songs are added, composed in collaboration with Jeremy Lubbock,
resulting in the album The Private Music of Suzanne Ciani,
the last one the artist would release under this label.
With respect to the kind of
contracts that a musician usually has to sign with the
record labels, Suzanne expresses
her viewpoints. Before she signed with Private
Music, Ciani
already was an expert businesswoman and expressed her
views about her rights with the labels she contacted,
refusing to give them the rights for her work forever.
Nevertheless, with Peter Baumann and Private
Music she admits she made a mistake, as she
thought he was a good friend, trusting his integrity, so
she signed a standard contract with him instead of
committing herself to her ideas. When Peter leaves Private
Music and the label becomes the property of BMG, Suzanne loses her
rights for four of her albums, even if BMG
have no interest whatsoever in her. So she leaves the
label in 1992. Suzanne
considers such a policy outrageous and abusive, and denounces
it strongly. Perhaps in the past it was necessary, as the
labels were responsible for all the costs that launching
a record meant, yet nowadays, at a time when the artist contacts the
label with the product ready for marketing and
distribution, there is no excuse to continue with these
archaic, slavering practices that stripe the artist from
all his benefits, when it is precisely the artist the one
who has invested all the money in production, not the
label.
In 1994 Suzanne
gets married at the Digital Studios HQ
in Capri, Italy, her husband being a lawyer who would
specialize in the entertainment field, Joe
Anderson. He supports her cause and that of the artists',
even if this line of work is not very lucrative indeed.
Besides counseling the artists needing his services, Joe is
a law professor at the University of San
Francisco, and collaborates with Suzanne in the
founding of her own label, Seventh Wave. Joe
also works in a book, Empowering the Artist, where
he expresses his views about the music business, and also specializes
in multimedia technology and Internet.
From Suzanne's
point of view, the big labels are the worst with respect
to the rights of the artists and their abusive contracts. Ciani prompts the
artists to stand up for their rights, and if possible,
she encourages them to establish their own labels, no matter
how hard work this may seem. Suzanne
herself did so, and even if in her own label, Seventh
Wave, she mostly releases her own work, she is
open to other artists, even if she admits she expects a
certain guarantee of quality before supporting complete unknowns,
and among the artists that have had some albums released
by Ciani's
label mention can be made of, for example, Roy
Eaton, an expert pianist, and Georgia Kelly,
an excellent harpist that is having a great success with
the general public. Likewise, Suzanne releases
her album Dream
Suite, in her own label, aimed at the
alternative market. Ciani
admits it is not easy to overcome absurd prejudices
typical of certain sectors in the public, according to
which the fact that an artist releases his/her own albums
in his/her own label is due to the fact that no important
labels are interested in his/her work and therefore
he/she has no guarantee of being good, which is an absurd falacy.
This is why she shocks these people by claiming she used
to be at a big label and left of her own volition, which
does not diminish the quality of her music in the least. Suzanne expects
that such absurd attitudes will change for the better,
and will give way to the productions of independent artists
without a priori rejections of their music just because they
are independent.
The album Dream Suite
(for piano and orchestra) is an orchestral project that Suzanne had
always wished to carry out as soon as she could afford
it. Ciani
developed this project with the Young Russia Orchestra
in Moscow. The recording process was completed in Italy
with the post-production tasks. The final touch was
provided by Bob Ludwig and Suzanne's sister,
who was in charge of the artwork for the cover of this
album.
Ciani has a
wonderful studio where she can work comfortably, and which
includes the latest in musical technology, as well as in acoustic
instruments, and in a word, everything she needs to expresss
her creativity both in the acoustic and in the electronic
aspects of her music, in a most satisfactory way. Suzanne has
always prided herself in having the best and the latest
in musical technology. The artist explains that whenever she
wishes to recycle something of her equipment, she sends
the material she no longer needs to her old school.
However, she will never get rid of her Buchla
and her Prophet 5, she claims.
Besides all this work in Suzanne's musical
career, she has also written some movie soundtracks, as
for instance the one for the movie The Incredible
Shrinking Woman, a film starred by Lily Tomlin,
and the Petrie sisters' movie Mother
Teresa among others. Also, Ciani
has created a sound library for the television series by
the ABC TV channel called One Life
to Live, among other television productions.
Suzanne Ciani has
performed live in different occasions throughout her
career, not only in her country, but also in Europe. For
instance, Suzanne
has come to Spain, besides her frequent visits to Italy,
where in one of her most recent concerts she has presented
her album Pianissimo II, a work in which Ciani recaptures
the style of her prior album with this same name, this
time with the orchestra Salieri from
Verona, conducted by Gaetano Soliman.
The studio album was recorded with a masterful combination
of high tech and classical instrumentation. Ciani performs
her compositions using a specially constructed model of a
grand piano, exclusively used for concerts. The result is
a richly textured sound, not often found in a studio
album. Besides playing her most well-known themes, among
them "The Velocity of Love," "Hotel
Luna," "Terra Mesa," "Go
Gently," and "Meeting Mozart", Suzanne includes
three new compositions. As is becoming increasingly usual
in our days, the album includes multimedia enhancement,
so that the listener can listen to the music, and besides,
enjoy the computer applications about how this album was
recorded, plus a brief look at the history of piano,
artistic images, and a nice computer animation of a score
with educational purposes. Pianissimo II is the
ninth studio album by Ciani,
besides its being the second one in which the artist returns
to her piano origins in their purest form, where the
piano becomes the soloist instrument. The artist expects
this album to be as successful as the previous one, whose
success surprised her as it was so different from her previous
releases.
Last October 1996, Suzanne Ciani
gave a classical piano live concert at the series of
concerts Shakespeare At The Beach in California.
The artist explains that her compositions belong into the category
of contemporary classical music, and she likes giving
this kind of live concerts, yet she does not forget about her
electronic background. This is why she has produced
several multimedia enhanced CDs, in which the listener
can access a view of her beginnings, diaries, photos,
videos and different musical selections.
In a few words, Suzanne Ciani is
no doubt a talented artist whose varied career has been
covering a wide range of fields in which she expresses
her artistic creativity, both as an expert in electronic technology,
an area where she has been a true pioneer, and in her
work as a businesswoman, New Age composer,
a specialist in sound engineering, with her sonic
creations in the advertising field and outside it, as
well as a virtuoso pianist, where she transmits waves of
dreamy melodies in a sensitive, emotional atmosphere
which becomes music of the best kind. Hopefully, such an
accomplished artist will continue to delight us with her
electronic and acoustic musical creations whose exquisite
romanticism has gained her a well deserved recognition in
the history of music.
By: Montse Andreu.
You can
find more information about Suzanne Ciani at:
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