Saturday, June 9, 2012


University Temple United Methodist Church several years ago

June 2, 2012
7th Annual Harry and Myrtle Olson International Organ Festival
Homage to Louis Vierne
University Temple United Methodist Church, Seattle

Mgr. art David di Fiore, Organ, Conductor
Dr. Zuzana Zahradnikova
Dr. Zuzana Zahradnikova, Ph.D.
Chancel Choir of University Temple United Methodist Church
Matt Dalton, Chuck Colburn, David Brewer, Jo Ann Christen, brass
Dan Oie - percussion

March-Sortie - Theodore Dubois - Zahradnikova
Aubade - Louis Vierne - Zahradnikova
Clair de lune - Louis Vierne - Zahradnikova
Cathedrales - Louis Vierne - Zahradnikova
Messe Solennelle - Louise Vierne - Choir, di Fiore, Zahradnikova
Toccata from Symphony No. 5 in F - Charles-Marie Widor (arr. Richard Proulx) - di Fiore, brass & percussion
Grand Jeu with Thunder Effects - Michel Corrette - di Fiore, Oie
Suite Gothique - Leon Boëllmann - di Fiore, brass & percussion

75 years ago on June 2, Louis Vierne collapsed onto the keyboard and died during his 1750th recital at Notre-Dame de Paris. In memory of the event, and of his life and influence, our church produced this fine concert of French organ music. I was singing in the choir, so I can't really comment on the Messe Solennelle. But sitting up close to the organ console during the rest of the show I was struck with the organ's theater of contraption - the crazy one-man band physicality of making all that noise happen, coupled with the sheer wonder of the noise itself as it forms into a mechanical simulation of a music, into what couldn't possibly actually be a music - except that it is anyway, and in spades. Both soloists and our fine brass & percussion players were marvelous. I was proud of my fellow singers as well. It felt good.

June 8, 2012
Ravel and Dutilleux with Cristina Valdés (and a host of others)
Seattle Symphony Chamber Series
Illsley Ball Nordstrom Recital Hall

Sonatine for Flute and Piano - Dutilleux - Judy Washburn Kriewall, Cristina Valdés
Choral, Cadence et Fugato for Trombone and Piano - Dutilleux - Ko-Ichiro Yamamoto, Cristina Valdés
Trois Préludes - Cristina Valdés
Les citations: Diptych for Oboe, Percussion Harpsichord and Double Bass - Dutilleux - Stefan Farkas, Joseph Adam, Joseph Kaufman, Michael A. Werner
String Quartet, Ainsi la nuit - Dutilleux - Simon James, Cordula Merks, Sayaka Kokubo, David Sabee
Sarabande et Cortège for Bassoon and Piano - Dutilleux - Paul Rafanelli, Cristina Valdés
Introduction et Allegro for flute, Harp, Clarinet and String Quartet - Ravel - Zartouhi Dombourian-Eby, Valerie Muzzolini Gordon, Laura DeLuca, Gennady Filimonov, Artur Girsky, Arie Schächter, Eric Gaenslen
Henri Dutilleux

Until just this year I don't believe I had ever heard of Henri Dutilleux, and until this concert I had not heard any of his music. From this small, well-presented sample I discover a sensitive and thoughtful musician, fully of his time and milieu. I imagine him occupying a position within his community similar to someone like Arthur Berger in mid-century America - an influential creative mind working in subtleties.

This was the first time I had been back to the recital hall in many years, and I must say that the institutionality of the place gets on my nerves. It is as though no matter how hard the musicians try to make a connection with the audience everything militates against it - the carefully bland interior, the proportion of stage width to back drop height to audience distribution, the business-like demeanor of the stage-crew. The place has "doing an event" down so well that it seems almost impossible for an event to take place. In Language As A Music Benjamin Boretz, apropos of the supposedly neutral language of discourse, warned that sooner or later, if not already, we would be hearing music in the same neutral manner in which we spoke and wrote of it. It has rarely struck me so strongly that it isn't just the language with which we discourse that can injure our music, but also the architecture of our venues and the dramaturgy within which that music is presented.


June 5, 2012
Piano Concerto 2 - Tchaikovsky - Emil Gilels, New Philharmonia Orchestra, Lorin Maazel

I thought of J.K. Randall: "I guess fortissimo is about conversational here." Mercurial rhythms bridge the worlds of Schumann and Busoni.

June 6, 2012
St. Louis Blues - Guy Lombardo [from Allen Lowe's That Devilin' Tune]
Maybe Next Year - Art Pepper [from Smack Up]
It's The Same Old Song - The Four Tops [collected from Dave Marsh's The Heart of Rock & Soul]
Take 'em As They Come - Bruce Springsteen [from Tracks]

June 7, 2012
Banned Rehearsal 30 (May 1985, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer, and guests Phil and Sandy)

Resolutely NOT music. Raorhum.

Sad Eyes - Bruce Springsteen [from Tracks]

In Session at The Tintinabulary

June 4, 2012
Banned Rehearsal 815 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Meyer

June 6, 2012
Your Mother Should Know recording a demo of Side By Side, in anticipation of the memorial service for Marilyn Meyer.


Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
 Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short 

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