Saturday, April 18, 2015



April 12, 2015
Requiem - Liszt - Hungarian People's Army Chorus, Janos Ferencsik
trying to look like Horowitz

As severe and restrained a setting as one could wish for, resources reduced to the narrow particularities of men's voices, organ, timpani, and occasional brass. The highest tenor voice is to die for.

alternate movement II from Symphony in C minor - Brahms - Scottish Chamber Orchestra, Charles Mackerras

A bit more expansive in layout than the final version, with some variant contrapuntal details.

4 Ogives - Satie - Frank Glazer

These little piano pieces are not far removed, spiritually, from Liszt's Requiem, or perhaps more to the point, his Tenebrae, but with a conceptual wrinkle: They are each essentially identical to their fellows. The differences in detail between them are exactly and only those differences that make no difference.

Lieder und Gesänge - Mahler - (performers not known)

My indexing fell apart here. I think I dubbed this to cassette tape from a friend's CD - probably in the 90's sometime, but neglected to collect any information about the singer (female) and pianist. It may have been paired with Lieder einser fahrended Gesellen. I tried to figure out who it is by perusing discographies on line, but to no certain avail.

April 14, 2015
The Golden Spinning Wheel - Dvorak - London Symphony Orchestra, Istvan Kertesz

This piece is up near the top of list of favorite Dvorak pieces. Among other strengths it is easily the best animated Disney movie ever, like Snow White but with the pacing of Eisenstein.

Jeux d'eau - Ravel - Vlado Perlemuter
The Unanswered Question - Ives - New York Philharmonic - Leonard Bernstein

I'll take these two as a pair. They share an absolute dependence for their power on their names, or rather on the relation between their names and their affects. Each is as literal as the other. I began to think that an excellent rule-of-thumb for what classical music (in the marketing sense) is, is just that music in which the name of the piece has an essential relation to how we perceive the piece.

In Session at the Tintinabulary

April 12, 2015
Duet 150412 - Keith Eisenbrey

Slide whistle and acoustic steel-string guitar. I added some barn-silo reverb to the final in order to mitigate some unfortunate wind noise on the slide-whistle track.

April 13, 2015
Banned Telepath 32 150413 Seattle
Banned Telepath 32 150413 Somerville
Banned Rehearsal 883 150413 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer (in Seattle); Aaron Keyt (in Somerville)

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