Friday May 3, 2013
Seattle Composers Salon at The Chapel Performance Space, Good Shepherd Center, Seattle
Composers: Brad Anderson, Phillip Arnautoff, Keith Eisenbrey, David M. Shere
I will be presenting my setting of the Beatitudes from Luke. Karen Eisenbrey, and Glynn Olive will sing.
Saturday May 4, 2013 at 8:00 PM
Keith Eisenbrey and Neal Meyer at The Chapel Performance Space, Good Shepherd Center, Seattle
Music for solo piano:
Eisenbrey - Welcome to my planet. I come in peace.
Cage - Solo for Piano
Long-time collaborators Neal Meyer and Keith Eisenbrey share a piano concert of epic stillness. Neal Meyer continues his exploratory celebration of the silence of John Cage with a performance of the seminal graphic-score Solo for Piano from Concert for Piano and Orchestra (1958). Keith Eisenbrey presents his recent contemplative pitch stereoscope: Welcome to my planet. I come in peace. Two frameworks, joined at the source, phased (in specious increments), cogs and gears, mutually warped and warping, rounding space.
April 23, 2013
Washington Composers Forum presents Denise Fillion, piano; Christopher Graham, percussion
The Chapel Performance Space, Good Shepherd Center, Seattle
Attractors - Bruce Hamilton
Red Arc/Blue Veil - John Luther Adams
The Third Eye - Adam Haws
Kontakte - Karlheinz Stockhausen
During the summer of 1979 I spent hours in the library at the UW listening under headphones to a multi-part radio broadcast reviewing the works of Karlheinz Stockhausen. Aside from working wonders on my social life this served as my introduction to post-war European music of a more modernist stance. Kontakte struck me even then as a remarkably strong and clearly constructed work. Although the electronic sounds in Kontakte have a certain flatness to them in comparison with those of the more recent works on the program the piece more than makes up for it in the sheer audacity of its variety, and in the subtlety with which the loudspeaker sounds co-habit the sound and time space with the live instruments.
It is now so far from unusual to hear electronic sounds in joint performance with live instruments that, in certain circles, it is fast approaching if not recklessly overshooting standard practice. Of the three pieces on the first half I was most taken by Attractors, whose bubblous froths were flung playfully into gooey space to hang frozen for a moment before dissipating in guises various. Red Arc/Blue Veil teased a giant virtual tamtam into massive utterance, but I wasn't convinced the live sounds added that much. The Third Eye was a motoric study in slow transformation of meter. If anything its trajectory was too obvious, but the more I think about it the more I'd like to give it another go.
I was formerly on the board of the WCF, and so I am particularly pleased to be able to congratulate them for producing this superb concert. More like that!
April 21, 2013
A hard-drive crash put my music data-base out of reach for a week, so I spent Sunday afternoon listening to these three sessions from June of 1985.
Banned Sectional 2 KEE AK - (June 1985, Keith Eisenbrey, Aaron Keyt)
Another of those many sessions in which we improvise against improvisatorially chosen pre-recorded sounds. In this case those pre-recordings include not just tape and vinyl and radio sounds but also printed words (I Ching) read out into the room.
Banned Sectional 3 KEE AK - (June 1985, Keith Eisenbrey, Aaron Keyt)
As I recall the idea was to sit in separate rooms, close our eyes, and describe what we saw. As with any free-association trace it can be taken any number of ways - an outing of obsessions or anxieties, prophecy, or banal nonsense. As a session it is kind of dull, but I'm not sorry we tried it, and that we kept at it for 45 minutes.
|Bickleton, Washington - 1986|
A mix of two "Telepaths". Aaron and I made a tape in Seattle and a day later Anna and Neal made a tape in Bickleton while taking a walk. A piling on of fragmentation and dislocation: of temporality, of source, and of granularity.
In Session at the Tintinabulary
April 22, 2013
Gradus 224 - Neal Meyer