August 17, 2019
Thollem/Boschnack/Denio Trio
Chapel Performance Space, Good Shepherd Center, Seattle
simultaneous layered narratives
more like split-screen
but the split is within the hearing ear
Thollem (on piano) uses the single note trill a lot
a go to performance practice
like Scriabin
one from among them suggests or ignites
the others conjoin in invention of the suggestion
which activity has both a different aim and a different result than Banned Rehearsal's active reluctance to take a lead or allow one
quick reps of finger, tongue, and embrace
has also come to peace with its adeptness and that of its participants
gestures form a path through pitch
repetition of tunes across instruments doesn't really make it more coherent
rather, it demonstrates that the layers across which repetitions are passed are distinct, which pressures against any pulling toward unified integrity.
Liszt tricks
Amy shares
balloon
[NB: a lovely evening guys! we had a superbulous time!]
Recorded
The Honeymoon is Over - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]
Something is bubbling back there in the orchestra, boiling water sounds perhaps? They play domestic friction for
show biz spectacle.
Caribbean Wind - Bob Dylan [from Biograph]
A background sound in one segment is
"ssshhhh (pause) hhhhse"
whispering in, whispering out
careful handling of the ends of lines, the ends of stanzas
what lingers on when the thought pivots around
Nowell-Dieus vous garde - The Boston Camerata [from A Renaissance Christmas]
The means of written music's elaboration, at that time, was just being invented, and was limited by the features of that notation system. This overcompensates for the paucity of its means by the sheer wonder of its fancy.
Trophy - Geto Boys [from We Can't Be Stopped]
"M----- F-----" and the other profanities serve partly as rhythmic filler, a fall back stance within a sophisticated rhythm speech.
August 18, 2019
O magnum mysterium - Tomás Luis de Victoria - Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]
as architecture
this composition is designed to waft sound explorator sounds into it
into architecture (the space formed by brick&mortar or stone&wood)
this music is composed
to inhabit the space
with us
|||| an aside ||||
a possible issue with electronic music arises here:
:: It can be, if it allows itself to be, designed with a null space in mind.
but can it be heard if the space of its hearing is null, or is that another take on Ben's an-echoic chamber?
And I stood . . . soul to soul - Bob Dylan [live at Key Arena October 2006]
song title anyone?
occupies the emotional "My Way" spot in the set list
a positive virtue: Bob doesn't easily feel uncomfortable in any American genre. The blues is the music we breathe.
vis-a-vis the space this was performed in (Key Arena):
It is simply not possible to occupy it with sound
No sound can illuminate this architecture, designed to be dead
Banned Rehearsal 796 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [August 2011]
The Tintinabulary, however, as a space, as an architecture, has going for it:
:: the use of proximate space, i.e., the microphone is not a neutral co-occupant of the music's chamber box. the instruments we play, in playing them, talk back. but the talk back ought not always to be obeyed ::
|||| an other aside ||||
a possible issue with parametric composition:
:: sometimes the sound of the pitch parameter detaches from its source, its time point parameters ::
some duck call playing the roll of cartoon baby crying
a duck telling long-winded jokes
a scherzo of a type
I believe I am doing most of the keyboards, but I'm not sure who was playing the push button toy guitar
a lovely session, in fact
some sounds are made by a thing and sound like it
some things sound as though grounded nowhere, parametrically disjoined
Fickle Sun (I) - Brian Eno [from The Ship]
Ambient in that it hopes to transform one's ambience
colonize it completely
pounding beat, honest, quite violent too
but occupies that space in a way very like that of de Victoria
that being
its architecture is a space to occupy
ambience enfolding engulfing submerging
August 21, 2019
Classical tonality, as here, privileges scale degree function to the point where register becomes transparent, mutable
more parametric mind games
Etudes-Tableaux (selections) op. 39 - Serge Rachmaninov - Evgeny Kissin
The role, in the structure, of the individual note, has been subsumed, Lisztified, beneath chordal sonority, i.e. the sonorities made by simultaneous strike of multiple pitch events.
(The gooey symptom of which pointillistic practice was or could be or could have been a cure)
proliferation of voices and histories
these voices here arise from the dead
(but)/(and) quite entertaining from a strictly pianistic point of view
In Session at the Tintinabulary
August 19, 2019
Banned Rehearsal 987 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
on the porch
we make another attempt
to merge with the neighborhood of noise
Postscripts
spirit as well by reason of the
lowliness and the condition of this life
known nor possible obtained to john pater
oblique voice
circle voice
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