AN INVENTORY OF DAMAGED GOODS

The music of Richard Cameron-Wolfe is not intrinsically abstract, instead residing in various realms of non-abstraction – each composition’s seed-ideas emanating from an extra-musical impulse. Here we find, for example, psychodrama (three micro-operas), sound-portraits (Inventory, Lilith), esoteric symbolism, and ritual processes – all articulated in macro- and micro-structures based on the irrational elasticity of the prime-number series.