January 14, 2017
I Fought The Law - Bobby Fuller Four [collected from Dave Marsh's The Heart of Rock & Soul]
Nice triplets in there. I love the dipthong on "law", curling back on itself as though hitting resistance. Almost appropriate: Karen and I recently watched "I Was a Fugitive from a Chain Gang", which has some truly amazing sound events in it, as well as a fascinating view of the connection between the penal system and slavery.
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| Samuel Barber |
The solid tonal sensibility loses grip in places, it works to break free, struggling slowly, manages to unsettle the more settled.
John, I'm Only Dancing - David Bowie [from Changes One]
Technically perfect song-writing. The voice pushes at the instrumentals, as though it were trapped in their cage.
You Better You Bet - The Who [from Face Dances]
Postural pullback, only to return to full frontal, hiding the low point of tenderness from prying eyes. Or letting it hang.
Violin Concerto - Henri Lazarof - Seattle Symphony Orchestra, Gerard Schwarz, Yukiko Kamei
Icy spreads its arms and twists
acrobatique
aerialesque
orchestral circus stage
big top fire breathing peril
here come the clowns sardonic
self regarding self
chatty nervous
Janaury 16, 2017
Adagio (3rd Movement from 11th Symphony) - David Diamond - Seattle Symphony Orchestra, Gerard Schwarz
Triumphal weariness, as settling to the ocean floor's deepest trench, through its subtle gradations of dark.
Good Things - Sleater-Kinney [from Call The Doctor]
Held close, stiffly still, simmering under pressure.
Work Architecture Unity And The ("17 Crags" 010511) - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Anna K, Isabel K, Neal Kosály-Meyer
Second go at it. A sense of enforced singularity of event, severing any particular participant's interest or curiosity. Salutary to the extent we find a way to do what we always do but spread over thinner space. Or: an exercise in leaving space so that we can't always fall into the always-going-on-ness, leaving space for sharper corners?
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| Judith Shatin |
Intervals Between Events: A Study.
Intersections of sets of distances between events as motivic cells. Clearly, so as to index the sets.
The Dancer - Patrick Marland [from Hendrix Uncovered]
Easily lovely. the bass is subtly amped, close the fingerboard.
January 17, 2017
Finnegans Wake Chapter 1.3 - Steve Gregoropoulos [from Waywords and Meansigns]
Spoken with attitude. 'scuse, with AttiTude. The music allowed to attempt to overpower, the vocal imitating the lingo of partisan journalism. Drunken sbrawling squalities. Text just one ring of a circus co-occupied by dueling Captain Beefheart Impersonators, infiltrated by multiple iterations of the Chaotic Noise Marching Corps. Babble of neverending political speech. Each music change: to enter a new room.
January 19, 2017
Die Kunst der Fuge Contrapunctus V - J. S. Bach - Lionel Rogg
How they do crowd upon each other! At the end (and this is frequent in these fugues) there is the sense of "OK, now we're ready to really dive in, now that the preliminaries are over."
Alla Polacca in C Major Wq. 116/4 - C.P.E. Bach - Miklos Spanyi
The purpose of ornamentation is to skew counting, to turn tables on the concept of number. These little pieces are about meter in a way that little else is again until Chopin's Mazurkas.
Symphony in E-flat Major (#76) - Haydn - Hanover Band, Roy Goodman
It is not simply that he moves in the unexpected way (surprise!) but that he gauges each unexpectedness so carefully, veering just so far along the circle of fifths, just so much further at the structural hingepoints: Where we have gotten to determines the depth and yaw of the veer. The slow movement has a focus that allows a huge dynamic range (a model for Schubert's late sonatas?) Then an extra fancy last movement.
Ave Verum Corpus - Mozart - University Temple Chancel Choir, Keith Eisenbrey, director, Howard Wolvington, organ
Last Fall our choir director, Chris Vincent, was in Italy and kindly allowed me to take the choir for a few weeks. He even let me conduct this justly famed anthem from late in Mozart's short life, for which I remain ever so thankful. What a pleasure! Listening one becomes so rapt that it is not until it winds down into the cadential trill that one realizes what a ride one has been on. A bit like life that way.
Sonata in A-flat Major Op. 110 - Beethoven - Rudolf Serkin
An earnest attempt to clearly play what is clearly there. He makes some interesting connections among the tempi in the fugal bits.
In Session at the Tintinabulary
January 16, 2017
Banned Rehearsal 927 170116 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
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