March 16, 2013
Seattle Choral Company, Freddie Coleman, conductor
St. Mark's Cathedral, Seattle
Stabat Mater Dolorosa - Liber Usualis
Stabat Mater à 8 for two choirs - Palestrina
The mere separation in space between the two choirs is nothing in comparison with the play of depths among the voices.
Stabat Mater à 10 - Scarlatti
An immensity. As though the entire scale of interactions from molecular to cosmic were imminent to mind.
Crucifixus à 16 - Antonia Caldara
Messa di Requiem - Ildebrando Pizzetti
Ben Boretz once asked "Can a symphony for big orchestra be from the heart?" The same question could be asked of choral music for cathedral spaces. This piece, without question, is, but that the answer is more often "yes" than it is for orchestra may be linked partly to the social theater involved. A chorus, in general, looks directly at us and sings to us. An orchestra, in general, sits in mixed attitude to us, their sound mediated by the technological marvels which are their instruments.
Ave Maria (from Four Sacred Pieces) - Verdi
Late, twisted chromatics hearken back to Brahms or Bruckner motets, but also to some of the same sly energy as in Strauss's Metamorphosen.
March 17, 2013
Banned Sectional 1 KEE AK - (June 1985, Keith Eisenbrey, Aaron Keyt)
One of several sessions over the years centered on my 1981/1982 score Book of Windows. In this case I was reading that portion of the text that was riffing on a line from Stockhausen's Hymnen: "Wir können noch ein Dimension tiefer gehen." with each page getting a new treatment.
Live at Consolidated Works - Intonarumori [from Sonicabal 2001]
Lingua mechanica - Machine lingo.
March 19, 2013
Banned Rehearsal 593 - (December 2000, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Isabel Kosály-Meyer, Neal Meyer)
The sound of the late evening wearies.
In Session at The Tintinabulary
March 18, 2013
Banned Rehearsal 833 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Meyer
March 21, 2013
Your Mother Should Know
Love Blackmail, Boundary