Saturday, March 4, 2017



March 2, 2017
James Falzone & Bonnie Whiting
Utterances - music based on text, spoken word, and translation
Chapel Performance Space, Good Shepherd Center, Seattle
Bonnie Whiting: percussion
James Falzone: clarinet, piano, shruti box, bells
with special guests:
Beth Fleenor: bass clarinet
Ivan Arteaga: alto saxophone and clarinet
Neil Welch: tenor and soprano saxophone
Steve Treseler: tenor saxophone and clarinet
Eric Vanderbilt-Mathews: alto saxophone and clarinet

Prelude - Bonnie Whiting and James Falzone, 2017
Amazonia Dreaming - Annea Lockwood, 1987
Sighs Too Deep For Words - James Falzone, 2017
Exercise No. 4 for Hands Right, Left and Deserted Mouth - Susan Parenti, 1984
The Room Is - James Falzone, 2013
Perishable Structures That Would Be Social Events, IV. Varése - Bonnie Whiting, 2017
White (part 1) - James Falzone, 2013
Your Thoughts While Listening - Richard Logan-Greene, 2015
White (part 2) - James Falzone, 2013
Toucher - Vinko Globokar, 2013
Grace and Chance (at the same time) - James Falzone, 2015
Postlude - Bonnie Whiting and James Falzone, 2017

The event as a whole wholly subsumed its constituent parts. Not that each part was not utterly distinct in its own integral event-ness, but that each part gave itself up wholly, in all of each of its integral event-nesses, to the passage of the event as a whole. That is, each event's moments were lifted into a status within the whole event that outshone their narrower moment-hoods. This doesn't just happen. Serious lifting was involved.

One hell of a band too.

March 3, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Sheila Bristow :: two songs: Strong Wisdom and Leap Into Love, for mezzo-soprano, piano, and cello. Melissa Plagemann sang, Sheila played piano, and Meg Brennand was her usual magnificence on the cello. Sheila has been working on this set for some time now and we have heard earlier versions of at least one of them at other Salons. I admire her straight-ahead, get out of the way of the text, illustrate clearly without over dramatizing things approach to song writing. Although her style is nothing like my own, the attitude is like, and refreshing. The entire cycle will be presented at the Chapel on April 8.

Steve Eric Scribner :: Tree and Stone (Artificial Version), for paper tree parts and chair stones (performed by the audience); and The Sherványa Nocturnal Music, for piano, harp, and other plucked instruments (peformed by Steve, piano; a harp player whose name I was too dead tired to remember to write down; and Karen and me on miniature kora (bug-guitar) and three-string ukulele). I was involved - in the sense that I plucked a few notes quietly through most of it - so my only comment is that I think I had the best seat in the house. The paper sound from the audience was luscious.

ComManD :: Thaumaturgy, for percussion, saxophone, dance, and electronics. Being, as I say, pretty much dead tired from a wicked week at work, I didn't manage to catch all the names, but Ivan Arteaga operated, to some extent, as spokesperson. They are working on some fancy computer-enabled ideas of collaboration, interaction, and mutual sound manipulation. The image that struck me strongest was the dancer, tricked out with accelerometers at wrist and ankle, somehow being both marionette and string-puller at once. Weirdly fascinating.

Blake DeGraw :: Electronic Quartet for Humans, for four saxophones. I recognized Jeremy Shaskus, but the other two names escaped my enfeebled note-taking. Adam and Justin was all I got. Bursts of sound from four sides projecting an image of a surrounding space. Bursts of no sound from all sides projecting an image of a withheld space.


February 28, 2017
Die Kunst der Fuge Contrapunctus VI - J. S. Bach - Zoltan Kocsis

This stands in front of you several times over all at once. Resistance is not futile, it is presumed, vanquished. Nothing like music as usual.

Symphony 95 - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

First the overture. A domestic crisis with fatherly advice. Fatherly advice activated, public acclamation follows. Wrap it up.

In Session at the Tintinabulary

February 27, 2017
Assembly Rechoired 56 170227 - Karen Eisenbrey, Keith Eisenbrey
There was rain. There was snow. There was thundersnow. And then came the overturned propane tanker on I-5. Traffic was beyond a mess. In honor of our compatriots trapped in traffic Karen and I carried on with noise. Since before our marriage (the first two were in June of 1986) we have called any improvisation session with just the two of us and no other Banned Rehearsal regular an "Assembly Rechoired". This is #56. Karen played the Excelsior and I bumped around several noisy items, at the end pouring all the ping pong balls out of the bucket into the chimney. And back.

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