Recorded
1/8/2011
Symphony in d, op. 40 (#2) - Prokofiev - Royal Scottish National Orchestra/Neemi Järvi
Bracing - like a brisk early morning run through a shelling.
1/9/2011
Symphony #6 Aria and Final - Vierne - Douglas Cleveland
The Lord's Prayer - Malotte - Jerry Sams/Kia Sams
Symphony in C - Stravinksy - CBC Symphony Orchestra/Stravinksy
Symphony as ancient myth.
Lover Man - Sarah Vaughan
Song of the Wanderer - Al Hibler
1/10/2011
Symphony #6 - Piston - Seattle SO/Gerard Schwarz
Dreary and heavy.
No Trespassing - The Ventures
Gone - the Fleetwoods
1/11/2011
Plastic Ono Band - John Lennon
A public diary entry, unembarrassed to have been cobbled together clumsily. A stunningly dirty sound.
Whistler's Waltz - Kirk Brandenberger, Art Rosenbaum
Scary Monsters - David Bowie
1/13/2011
Pastorale 850106 - Eisenbrey - Fehrwood Ensemble
This was an early rehearsal of a recorder quintet written in 1984 for my mom's amateur ensemble. I wrote the piece with the intention of exploiting the recorder's pinpoint intonation to explore a wildly strained pitchspace.The pacing is as slow as breath will allow, holding long tones out to their exquisitely saggy conclusions. Unfortunately this aspect of the piece is problematic socially. The experience from the performer's side is of valiantly attempting to play everything with perfect intonation. Failure at this is a foregone conclusion, and from the listener's standpoint success on the performer's part would wipe out the whole point of the piece. The Fehrwood Ensemble were singularly game, but I'm not sure a professional outfit would put up with it.
Banned Rehearsal 207 - Banned Rehearsal
James Brown's Funky Christmas - James Brown
Showing posts with label Eisenbrey. Show all posts
Showing posts with label Eisenbrey. Show all posts
Saturday, January 15, 2011
Saturday, December 4, 2010
Playlist
Recorded
11/28/2010
String Quartet (midi version) - Boretz
Blood and Fire Hallelujah (first tests) - Eisenbrey
Coincidentally, this first concept test run comes up on the listening list within a few weeks of my performance of the finished work at the Chapel. The original idea for the piece was to record a track of solo piano playing slow big chords that would gradually increase in speed and intensity to a head-banging end. In performance I would try to do essentially the same thing, but squeezing the live chords between the canned ones. I was going for an overtly theatrical image, with an undercurrent of Petroushka. To that end I recorded several takes of the canned bit last January, playing the old Kingsbury upright grand out in the studio. This is not a bad sounding recording, but I ended up being disappointed both with the effect I was getting and with my playing. Before ever getting around to trying again the concept of the piece had developed considerably.
S. Eric Scribner found some interesting things to say about the live performance of the finished work on his blog. Some of his comments surprised me considerably, but thinking it over I can certainly understand what he was reacting to. It proves once again that the most we can hope to do as creative people is stimulate the imaginations of our collaborators. We are powerless to control the image itself. If we wish we can control the facts, the texts, of what we make, but the images awakened by those facts and texts, in the wild, always get the final say. This is, in a nutshell, the dissonance that propels creativity.
11/30/2010
Suite in E-flat (Franzosische) - JS Bach - Blandine Verlet
Trio super Herr Jesu Christ, dich zu uns wend, BWV 655 - JS Bach - Michel Chapuis
12/3/2010
Andante in C K315 - Mozart - Marriner/Academy of St. Martin-in-the-Fields/Claude Monteux
Symphony in E-flat (Rhenische) - Schumann - Seattle SO/Schwarz
11/28/2010
String Quartet (midi version) - Boretz
Blood and Fire Hallelujah (first tests) - Eisenbrey
Coincidentally, this first concept test run comes up on the listening list within a few weeks of my performance of the finished work at the Chapel. The original idea for the piece was to record a track of solo piano playing slow big chords that would gradually increase in speed and intensity to a head-banging end. In performance I would try to do essentially the same thing, but squeezing the live chords between the canned ones. I was going for an overtly theatrical image, with an undercurrent of Petroushka. To that end I recorded several takes of the canned bit last January, playing the old Kingsbury upright grand out in the studio. This is not a bad sounding recording, but I ended up being disappointed both with the effect I was getting and with my playing. Before ever getting around to trying again the concept of the piece had developed considerably.
S. Eric Scribner found some interesting things to say about the live performance of the finished work on his blog. Some of his comments surprised me considerably, but thinking it over I can certainly understand what he was reacting to. It proves once again that the most we can hope to do as creative people is stimulate the imaginations of our collaborators. We are powerless to control the image itself. If we wish we can control the facts, the texts, of what we make, but the images awakened by those facts and texts, in the wild, always get the final say. This is, in a nutshell, the dissonance that propels creativity.
11/30/2010
Suite in E-flat (Franzosische) - JS Bach - Blandine Verlet
Trio super Herr Jesu Christ, dich zu uns wend, BWV 655 - JS Bach - Michel Chapuis
12/3/2010
Andante in C K315 - Mozart - Marriner/Academy of St. Martin-in-the-Fields/Claude Monteux
Symphony in E-flat (Rhenische) - Schumann - Seattle SO/Schwarz
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