June 4, 2015
Each movement a different take on motoric rhythm. The first starts slap in the middle of what it had been doing for some time (see Stravinsky, below). The second, lovely to die for, a slow waltz slipping awry. Full of tunes that fit fitfully in their ostensible meter.
Quartet #4 - Schoenberg - The Vienna String Quartet
Amazingly alive, melodically, in all its parts. Each moment in each voice unquestionably about something. Each moment an adjective, so thickly woven together that the token subject, the something, is irrecoverable.
Sonatina for Piano - Nancarrow [from Lost Works Last Works]
It occurs to me that two or three sufficiently nimble pianists could pull this off pretty well. Would the loss of its mechanical precision be a mortal blow?
Scherzo a la Russe (symphonic version) - Stravinsky - London Symphony Orchestra, Michael Tilson Thomas
Stravinsky's gambits: The reveals, both sudden and gradual; the veer; the back to business. Lively tunes that wander through the parts of his rhythmic mechanisms. Once it has wound itself up to celebratory heights it stops as though the tape ran out too early.
In Session at the Tintinabulary
May 31, 2015
Duet 150531 - Keith Eisenbrey
An improvisation on 8 pitch (western diatonic tuning, more or less) angklung and steel string acoustic guitar.
June 1, 2015
Gradus 267 - Neal Kosály-Meyer
A tone of complex timbre will divide, branch, bend: become refracted by its passage through time's prism. Careful balance will bring out the stepwise motion of B-natural to C-sharp, with the B arising from the E-natural 19 semi-tones below. The subtle, unplayed, G-sharp 19 semi-tones above the C-sharp fills in a lovely E Major triad with added sixth.