Saturday, September 27, 2014


September 24, 2014
Central Park In The Dark - Ives - New York Philharmonic, Leonard Bernstein
Such tunes as there are appear like ghastly voices, disembodied, unaffecting their surrounds.
Daphnis et Chloe - Ravel - Orchestre de Paris, Jean Martinon
Even the shadows are resplendent and glow. Violence is vanquished by balance, mathematics, proportion. Harmony is defused. Drama relies on accelerating crescendi and textural pullbacks.
Our Planet
September 25, 2014
The Planets - Holst - New York Philharmonic, Leonard Bernstein
An attempt to understand horror by placing it within a system, a character within a pantheon, one among the several aspects of the Man.
Frankie and Johnny - Al Bernard
An arch performance of a quintessential American song - simultaneously rooted in particulars and expansively mythic.
Lyric Suite - Berg - Galimir String Quartet
Here the 12-tone method is a means of control over a hyper-varied landscape. The method is a focus, but it isn't the object of focus.
In Session at the Tintinabulary
September 21, 2014
Holmes Harbor 140921 - Keith Eisenbrey
Recorded at dawn September 21, 2014, at the south end of Holmes Harbor, on Whidbey Island. Some traffic in the distance, but also gulls, ducks, and the quiet tickery noise a damp barnacly beach makes at dawn.
Fryingpan Glacier from Second Burroughs, Mt. Rainier National Park
September 22, 2014
Second Burroughs 140922 - Keith Eisenbrey
Between the wind noise that even a wool sock wrapped around the Zoom couldn't keep out is the sound of water gushing out from under the Fryingpan Glacier several miles away.
First Burroughs Trail 140922 - Keith Eisenbrey
Likewise, but the somewhat louder sound of the White River deep in the gulf below.
Gradus 252 - Neal Kosály-Meyer
Of prime compositional concern is the nature of change that the fact of being subsequent inflicts upon the present.

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