R.S. Thompson: Bells Do Not Ring but the Air Listens Anyway
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- Composer: Robert Scott Thompson (1959-)
- Format: Score & Set of Parts
- Instrumentation: Cello, Flute, Harp
- Work: Bells Do Not Ring but the Air Listens Anyway (2025)
- ISMN:
- Size: 8.9 x 12.0 inches
Description
Bells Do Not Ring but the Air Listens Anyway is a meditative, atmospheric work for flute, cello, and harp trio that draws its primary inspiration from two seemingly disparate yet spiritually allied musical figures: Erik Satie and Morton Feldman. From Satie comes the conceptual impetus of musique d'ameublement—"furniture music"—a notion that challenged traditional expectations of music as foregrounded entertainment. Feldman contributes a sensibility of temporal suspension, evanescence, and delicate unpredictability—a sonic language that resists climax and instead invites the listener to dwell within the sound itself.
Described by the composer as a form of "ambient chamber music," the piece seeks to occupy a space somewhere between presence and absence—foreground and background. Its aesthetic is intentionally minimal, open, and even barren at times, encouraging multiple forms of attention. It is music that rewards close listening, yet equally permits the mind to wander. It is both there and not-there—like an aural mirage that shifts with the listener's focus.
Structured in two sections of approximately eight minutes each, Bells Do Not Ring but the Air Listens Anyway can be performed in whole or in part, depending on the context of the performance. Each section may stand alone or be paired together, allowing for flexible programming. The piece is designed to accommodate a variety of performance formats: from traditional chamber recitals in proscenium settings to antiphonal configurations in resonant spaces, to more experimental modes involving amplification and multichannel sound diffusion. Performers are invited to explore these interpretive possibilities freely; staging, spatialization, and technical augmentation are left to their discretion.
The compositional materials are spare and deliberately constrained. Long, looping figures—subtly shifting and intersecting—form a kind of living mobile, reminiscent of the kinetic sculptures of Alexander Calder. The synchrony of the instruments is not mechanical, but organic: parts align, drift apart, and realign in gentle cycles of transformation. Each gesture is imbued with breath and silence, forming an environment that is less about progression than it is about presence.
Bells Do Not Ring but the Air Listens Anyway invites us into a contemplative sonic environment—an acoustic space where the familiar contours of chamber music are rendered translucent, and time seems to loosen its grip. It is music not only to be heard, but to be inhabited.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
R.S. Thompson: Bells Do Not Ring but the Air Listens Anyway
