October 25, 2015
Se vi duol il mio duolo - Gesualdo - Consort of Musicke, Anthony Rooley
Part of what seems so modern about Gesualdo is the centripetally charged architecture of the virtual space he creates. Hidden rooms and dark hallways are implied. Out can't be got. The only option is further in.
Konzert in G Major BWV 1048 - J.S. Bach - Philharmonia Orchestra, Otto Klemperer
The halls here are brightly lit, and there are windows open to the breezes. The balanced phrases spill out in every seeming possible combination of distributive weighting.
Petites Pieces "Les Langeurs tendres" Wq. 117 #30 - C.P.E. Bach - Miklos Spanyi
A mid-18th Century Chopin nocturne, though it would translate more graciously to lute or guitar than to piano.
More fresh air and sunshine. Children are playing. Our music is a grace to the gracious living of others. This is the quartet from which Beethoven borrowed the recitative for the 9th.
Symphony in D Major K504(504) - Mozart - Academy of Ancient Music, Christopher Hogwood, Jaap Schroder
It isn't just that all of Mozart's best music is opera, either for real or in drag, but that the extent to which it is Mozartean is exactly the extent to which the music is the image of staged singers in mid-plot. The slow movement of this one pulls a second twist, in that the moment of its plot is utterly still, without beginning or end - the characters entwined for all time in freely poignant, floating bliss.
String Quartet in E minor op. 59 #2 - Beethoven - Budapest Quartet
The close regard of little tids of figuration (as transformable music substance) is the musical substance. The larger structures (phrases, sections, movements) are accidents, epiphenomena of the cross-play among micro-compositions.
October 27, 2015
Polonaise in F-sharp minor Op. 44 - Chopin - Artur Rubinstein
Played with admirable lucidity, the phrases rounded just enough for clarity without telegraphing what might be suddenly there next.
Symphony in C Major Op. 61 - Schumann - Berlin Philharmonic Orchestra, Herbert von Karajan
This is recorded/engineered in such a gluey acoustic environment that even what sounds like it was played articulately becomes distant and blurred, in soft-focus. Ah, that '30's Hollywood glow. Doesn't do Schumann any favors though.
|Deception Pass State Park, Washington|
October 25, 2015
Wishes Last - Keith Eisenbrey
I wrote/improvised a song that's like a hymn, accompanied by spoons and nylon string guitar. I'll be putting this up on Bandcamp soon with a couple of other recent songs. First take, best take.
October 26, 2015
Banned Telepath 39 Seattle 151026
Banned Telepath 39 Somerville 151026
Banned Rehearsal 897 151026 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, in Seattle; and Aaron Keyt, in Somerville
Up to our usual shenanigans, Steve found a way to bow the washtub bass with a loose spring, to excellent effect.