Playlist

 Preface

"{Continuity, consecution, in this precis, is, of

course, surreal.*}

{*as music is.*}"

- J. K. Randall "Program note for shouldn't we talk ?:"  from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

March 13, 2021

Choral Tapas - Seattle Pro Musica, Karen P. Thomas, director

Joseph Rheinberger, Melissa Dumphy, Gabriel Fauré

flocking pages

a fancy margarita
smoky triple 

with lots of fun sounds 

woke with production value 

"career"
(MD's amazing accent)
Brisbane being infiltrated by Philly

March 14, 2021

Concert IV: Ha-Yang Kim - the day is burnt, the night is calm - Seattle Modern Orchestra, Tiffany Lin, director

we are dark
we are blue 

dragon snore 

black light
music lifting up
dragon dream 

curiculums vitae
are not so much irrelevant
here
as they are
incongruous 

a rumbling in the presence
sleeps with Patience 

seeping force
into repressively permeable time

were
we gray
or blue

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

March 13, 2021

Garrett Fisher & GraceAnn Cummings

Raga Études for Piano - Book I: Winter

sweeps and washes
gnaws relentless 

who speaks
and from where
who speaks
speaks 

from behind the canvas
as one might imagine Debussy
behind an orchestral sound 

cyclic pieces named for time of day and of season
solar calendar 

taken as pieces they emerge complete from the start
at the end
intent on static projection
of something inside
as a light might glow 

a time is not a story but a moment protracted
a tight squeeze
should you seek to enter
the sonorous surface 

but these
are different pools
they move en masse
stick together

March 14, 2021

Paurl Walsh

tonality per 18th Century practice
involves the establishment of a reference set
the tonic triad
and a set of triads
relating to that reference set
which  (I V IV) together are the key or tonality of the work
which work
would typically explore that key
in terms of that key's relationships
to analogously structured keys
related to the reference key
by relative maximal common tone relationships 

this music
if considered as a structure of triads and keys at all
departs from that practice
or at least doesn't appropriate the sense of a single reference set
a home
rather
a slow oscillation of triadish simultaneities
provides a wash or backdrop
against which other sounds are presented
without phrases
cadence
or need to explicitly compose all the sounds
so that they are tightly bound
structurally or tonally
to the oscillatory atmosphere
nor to its particulars
the pitches of which it is made
are immaterialized

a chamber
slowly fills

Recorded

March 14, 2021

Music for Piano - John Cage - Keith Eisenbrey, Aaron Keyt, Lise Mann, Neal Kosály-Meyer [April 1985, Meany Studio Theater, Seattle]

a lot of white noise in it
and dancers in the attic 

musicians who have learned to listen to each other
will compose with the sounds they make
cooperatively
as in conversation
without regard to what the notes are
nor how derived 

we aggressively
express
we communicate with each other
amongst ourselves
without regard to the relative opacity
of our communication outside our group 

this performance 23 years after the score's propagation
is now 36 years past 

like hell I was going to learn all those notes to play them right
instead I considered the score to be a score of gestures
more than of notes
gestures notated
as one would notate notes 

I will let the night sky
or the paper maker
imagine my music for me 

do we have personalities
clearly 

do those personalities mold these tones
unavoidably 

I am antagonistically related
to John Cage (as a body of music)
why 

he fills me with things to think
couched in terms of antagonism
habit of thought
if you don't take him too seriously
he's just fine
or rather
if you take yourself more seriously

antagonistic but not dismissive

subject matter
a critique of
or critical analysis
of arranging how things are
so as
to out the face of culture
he's talking about our doing 

co-optivator of experience
not liberating 

the original audience
to this presentation
allowed themselves
to wander around
I will also 

a chance based system that I can explain to you in a minute
or a deeply derived system that defies our explanations
essentially 

Horrorland
or or and
HorRorLand
hORrORlAND

hrl
HRL

His Royal License 

critiques of masterwork culture
the loudspeaker effected a more profound change
in our listening psyches
than Cage ever could

March 15, 2021

I Can See for Miles - The Who - [collected from Dave Marsh's The Heart of Rock & Soul]

yet another stalker anthem 

translation
my suspicion is boundless and incontrovertible

Adoramus Te - [?] - Lake Washington Singers, Betty Eisenbrey, director

pretty high-toned for the LWS
mom tried

Anais - Diane Thome - Michael Finckel, Diane Thome

acoustic and electronic talking
early days
electronic sounds starting where they split from the acoustic
like sparks 

at the time
no way existed
I think
to make the digital electronic part
real-time realizable
it had to be pre-synthesized
composed ahead

Pastorale: "The Color of Water" (texts) - Neal Kosály-Meyer - Neal Kosály-Meyer [October 2010]

Neal talks
quoting his program notes
and epigram
and a poem
the color of eyes' intersection

the first pass through
isn't really playing it
sure it is 

the tempo at the Cause Célèbre

March 16, 2021

Cassini Tests - Scott Worthington - Scott Worthington

A.
synth and bass
bowed
acoustic upright 

discussing matters across languages
that share of themselves
but whose times operate
at different lags
or that share time
but not space

B.
believably lyrical
human sized expression
pose-less
gentle
thoughtful
playful
generous 

or like a body language
translated across a gap
or around a bend

March 17, 2021

A___'s First Sermon - A___ B___ [1987]

a documenting artifact
recorded from the standpoint of a concentrated listener
a perfectly still listener
wavering in focus never
notes
but doesn't attend
its fellow listeners

March 18, 2021

Banned Rehearsal 287 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1992]

Keith Eisenbrey · Banned Rehearsal 287 920228

foghorn sax
at the tintinabulary
our drums
P's tenor sax
since passed along to Doug P. 

quantum flip
the standing wave

sax style

neck strap
for nursing tad
not sure what it would hitch to 

drums puttering
making one with general puttering
and moving into
and cohabiting
with just so and whatever 

you are a fuss
music for nursing by
stones
rocks
tones
rock
spears
football 

little lists
big game
that's a bone
a critter bone
hedgehog 

words related or not
these are a few of my favorite things 

disemboweled otters
disillusioned electorate 

a list of plural noun phrases
typesetters
transcendentalists
direct to cassette mastering
masterless mastering

you can't leave until
you open the door
open lee
a door 

odor

Postscripts

::Consult the Oracle

first stanza concerning this dark night and its

now to discuss the about which love's urgent

longings 1 of dark night and its traits it

Reality Check::

don't count

roll a clam shell down a level plane

redwing blackbird on a bare tree top

Playlist

 Preface

"Another way of saying this - from the perspective of a reader or listener - is that everything you read about or hear in music is an output of a particular life history at a particular moment, and its truth or expressivity is the truth and true expressivity of that, and, really, only that, moment - as is this. What you get, if you care to, is access to that moment, as you compose it for yourself, out of your own moment."

- Benjamin Boretz "Prologue to 'Little Reviews' (Life in the Slow Lane)" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

March 6, 2021

Dennis Rae, Wally Shoup, John Seman, Mark Ostrowski 
(recorded in 2017)

share the groove
share the spotlight
share internal collective
moving ears to the collective moving
making aware
being
and the image
of aware
being
a sense of ensemble playing
texture forming
momentum spinning
at first
in a familiar family of groove
pushing out further
continually
honing
pushing
to new groove 

a long modulation from one to another

Recorded

March 6, 2021

Etude in C-sharp minor, Op. 10 #4 - Frédéric Chopin - Alfred Cortot [1942]

fleet and faery light

Piano Trio in D minor, Op. 63 - Robert Schumann - Quatuor Via Nova, Jean Hubeau

1
modes of making a whole
everybody plays the whole
each plays a part of the whole
partitioning it among themselves
each plays parts of several wholes
which together
conjure another a whole
each a mode of rhetoric
a rhetoric of wholeness construction 

2
starts the same way
several times
finds routes back
to start there
again
we could do this all day
trio
the middle part of this formal type
oops back to the top again 

3
long melody in search of cadence
unwilling to commit to it
to not be searching 

4
our phrases balance
then they don't at all
but always answering each other
through the offset phrases
stacked atop
each
other

[from my journal entry of April 4, 2004: full rich sound throughout - the concept of chamber music at work here is maximal: as much sound and thought as can be inserted at all times counterpoint almost too full, too packed, to be made clear. truly remarkable.]

Boris Godunov, Act IV Scene II (1872) - Modest Mussorgsky - Polish Radio National Symphony Orchestra, Jerzy Semkow, Martti Talvela, Leonard Mroz, Nicolai Gedda, Bozena Kinasz, Andrzej Hiolski, Aage Haugland, Halina Lukomska, Polish Radio Chorus of Krakow, Boys Chorus from the Krakow Philharmonic Chorus

severely plain to see
as though nothing could be happening inside
such open books
miming each statement from the characters' points of view
the mimes
the inner thoughts
all hope degenerates
as it descends the modes
the orchestra forms heavy walls
around the voices

Les Jeux d'eau a la villa d'Este - Franz Liszt - Mikhal Rudy

proto impressionist
nor is it a distant leap to Scriabin

March 7, 2021

Migration Dances - Jessi Harvey - Onomatopoeia Trio (Cassie Lear, flutes; Soren Hamm saxophones; and Rebecca Olason, French horn) onamatopoeiatrio.com

Jessi Harvey · migration dances

moving
in bursts and blats and warbles
being a burst or blat or warble
as a state of being
burst being
blat being
warble being 

saxophone horn clarinet? flute (I think)
a nicely unpretentious ad hoc ness to the mix

Parsifal, Prelude to Act I - Richard Wagner - Seattle Symphony, Gerard Schwarz

a common 18th Century opening gambit
was to outline the tonic triad
or do a quick I V I check in
or present a portion of the home key's scale
this is similar
but the root of music is also a duration
and a sense of lingering
the prelude establishes
what stands for the key
the reference tonality

Concerto for Violin, Cello, and Orchestra, in A minor, Op. 102 - Johannes Brahms - Concertgebouworkest Amsterdam, Bernard Haitink, Henryk Szeryng, Janos Starker

1
cello introduced
violin introduced
their conjointure introduced
rarely completes a phrase in the same hat
rarely is an answer not coopted
figurational non- or half-sequiturs
(also an 18th Century practice (see Scarlatti and CPEB))
parts of these items will be completed later 

2
the instant transformation of the horn calls
to violin/cello tune
is breathtaking 

3
goes into country ethnic dance mode
passages of plain as rocks figuration
perhaps the key to what's ticking down in there

Othello - Antonín Dvořák - Czech Philharmonic Orchestra, Vaclav Neumann

sacred homophony
profane declamation
martial fierceness
with a gentle side
a character portrait in multiple modes

[from my journal entry of June 8, 1995: insistently 'small'-motivic - repetitive. exceedingly clearly drawn textures.]

L'Apprenti Sorcer - Paul Dukas - New York Philharmonic, Guido Cantelli

recorded live with vinyl artifacts and hum
lost somewhere is the fact that
if the sorcerer could mop the floor with magic
why did he force a drudge to do it
the hard way

On Emancipation Day - Len Spencer [from Allen Lowe's That Devilin' Tune]

carnival
crossing caste boundaries
transgression as emancipation
but also
viewing that other caste's culture
as a spectacle 

Sonata, Op. 1 - Alban Berg - Alfred Brendel

the contrapuntalist club drinking song
had he heard Scriabin?

the tonalities in the early part of the 20th Century
began to float around in a half world

Sonata in G, Op. 62 (#6) - Alexander Scriabin - John Ogdon

the key is an emptiness at the center
a related structural idea
melody is a charisma at the center

Some Jazz Blues - Memphis ** Band [from Allen Lowe's Turn Me Loose White Man]

played fast
to sound like a windup machine
keeps at it for awhile too
[NB: oops! listening to the wrong track]

clown act for  Max Fleischer treatment

March 9, 2021

Variations and Fugue on Chopin's Prelude in C minor - Ferruccio Busoni - Wolf Harden

start by pressing it into a new clay
what playful sprites emerge
press them in
also
get vigorous
get lovely
into the clay
quaff it
smoke it
wallow in it
into the clay
heroify it
romance it
spin it
into the clay
prank it
toss it
bat it
diaphanize it
into the clay
prowl it
confuse it
pound it
into the clay
dream it
remember it
hide it among its fellows
in the clay
bury it in counterpoints

Let's Misbehave (take 1)- Cole Porter - Karen Eisenbrey, Keith Eisenbrey [October 1998]

we're not above birds

The Laffing Rag - Ben Curry [from Allen Lowe's Turn Me Loose White Man]

lizzy dizzy
running through a continuum of vowels
in the ha ha ho ho department
a series of incomprehensible one-liners

March 10, 2021

Romeo and Juliet, Suite 2 - Serge Prokofiev - Seattle Symphony, Gerard Schwarz

traces connections
top to bottom of register
weighted to fall
large interval leaps
an image in much of the material
effort of distance
or distance measured by effort 

so what is left of Shakespeare in this endeavor
the dance kept the names of the characters in the program
the plot's outline
the ballet music as a whole did what it could
to evoke the spirit of the characters
as an adjunct to the dancers' movements and acting
within that outline

bereft of the stage dance
and the plot
all we have is an evocation
far removed from the language
an advertisement 

the tunes all sport apparent metrical elisions
as a proper part
the parts jumbled on the floor

March 11, 2021

Fanfare for the Common Man - Aaron Copland - London Symphony Orchestra, Aaron Copland

LSO plays it mostly un-tongued, legato, really whangs on those drums

Slow Drivin' (Parts 1 and 2) - Mutt Carey [from Allen Lowe's That Devilin' Tune]

I think I've just been sassed
inventing a wavelength to all be on
agreement as to factors
pulse
chord changes
swing
sass
poly-uni-voiced

Suite for Wind Quintet - Ruth Crawford Seeger - Ensemble Aventure

1
bassoon bit lights fires all over
oboe tries it
we drop from end of 1 into 

2
1 in later life 

3
starts at the end of 1's beginning
multiple ways
for multiple times
to transpire
within each other

Little Darlin' - The Diamonds [collected from Dave Marsh's The Heart of Rock & Soul]

fun with sliders in the mixing booth
and with cowbell

In Session at the Tintinabulary

March 7, 2021

Banned Telepath 72 South Seattle - Steve Kennedy

March 8, 2021

Banned Telepath 72 Ducks - Anna K, Neal Kosály-Meyer

Banned Telepath 72 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

March 10, 2021

Banned Telepath 72 Toad Hall - Aaron Keyt

Banned Rehearsal 1021 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Keith Eisenbrey · Banned Rehearsal 1021 210307 - 10

Steve sent sounds from Outpost South Seattle, Anna and Neal took a walk and found some ducks, Karen and Keith improvised at the Tintinabulary while pulling in Anna and Neal by telephone from Outpost Lake City, and Aaron sent sounds from Outpost Toad Hall. It is magnificent.

Postscripts

::Consult the Oracle

es die hat's feld untergeht sucht lieb ihr

lieb lay zu bach am rheine wohnt' eine

zauberin o brechet mir den stab ich

Reality Check::

hung there from another mind

dyes gray violet

blows on the bass drum

Playlist

Preface

"Experiencing music is bringing into being a singular time-space identity, received from a singular perspective of location.

A peculiarity of any music experiencing is that no physical time-space-location-occasion (observable and quantifiable in referential, intersubjective terms) can be designated as being the time or space or occasion identity of a music experiencing.

The real time and space and occasion of music experiencing are psychic time and space and occasion."

- Benjamin Boretz "Prologue to ("Whose Time, What Space"): [A Seminar Talk at Eastman]" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

February 27, 2021

Amelia Coulter

tough hard
molecular bonds
heavy industry

cut
weld
grind

resist  wear
tear not
((tool's business) end)

do not visit this dentist 

the machine is speaking

ram
drill
ream
mill

February 28, 2021

Alex Guy

proceeding as thinking
moves by observing one's thinking
while moving thinking 
thinking moving
proceeding observing
observing proceeding

what might be possible
in terms of relating
the notions of single vis a vis multiple thoughts
and of single vis a vis multiple pieces
does being a single piece
strongly imply
that a single thought
is co-terminate with it
or might it be
more like a collection
in a box or boxes
all metaphors of course
boxes, collections, thoughts, and pieces
so the question arises
whether the structure
of the metaphoric relation
answers to anything
in the realm of music experience

Recorded

February 27, 2021

Lose Yourself - Eminem [from 8 Mile (Music from and inspired by the Motion Picture)]

lines have a groove
to guide the flow of syllable 

parts of speech

February 28, 2021

Gradus 112 - Neal Kosály-Meyer - Neal Kosály-Meyer [January 2007]

notes are played
sounds start and stop
each persists past their hard limits
the limits are markers
to organize our memory

we can experience duration
from within the framework of meter and pulse
(metrically tamed duration) 
rationalizing impulse 

or a social cohesive

Equally Choked - Broken By Clouds

blues of the keeping it together 

song fragment

Ella's Song - Bernice Johnson Reagan - University Temple Chancel Choir, Chris Vincent, director, Karen Eisenbrey, soprano

well sung, Karen!

Pavana, FWVB 13 - John Bull - Claudio Columbo [from The Fitzwilliam Virginal Book]

all the betweens of anythings are decorated, mediated,
composed with Randallian care

Voltes 2 - Michael Praetorius - New London Consort, Philip Pickett [from Dances from Terpsichore]

all the tribes of choirs
interchangeable at command
music for undefined orchestra
who showed up that evening
how many are you willing to pay
a signal of wealth and stature

Mein Herz ist bereit, Gott - Heinrich Schütz - Capella Augustana

voice and instrument : a machine a made thing
both
I am the equal of a violin
and (humility)
I am not better than a violin

Canzone in D minor, BWV 168 - Dietrich Buxtehude - Simone Stella

each voice entrance sets up a new phraseological continuity

Von Himmel hoch, da komm Ich her, BWV 738 - Johann Sebastian Bach - Michael Chapuis

as in the Buxtehude the single chorale or canzone comes with variations

Lamentationes pro die Jovis Santo 1 - Jan Dismas Zelenka - Schola Cantorum Basiliensis, Rene Jacobs, Guy De Mey, Kurt Widmer

the betweens are overlain, interleaved, cabinetworked

Sonata in G Major - Carl Philipp Emanuel Bach - Miklos Spanyi

there is a place within each paragraph where the ground shifts 

CPEB
all the letters rhyme 

made the phrase-metrical position structural

the bass bit at the start of III is the clown role in this show

Sonata in A Major, K. 114 - Domenico Scarlatti - Pieter-Jan Belder

he turns such corners
I get lost
not sorry 

the sheer count of directly repetitive bits at play
mitigates the heavy handedness of larger scale repetitions 

lost

but never sorry 

repeats that skew the linear sequence

March 1, 2021

Sonata in G minor, Hob. XVI:44 - Franz Joseph Haydn - Christine Schornsheim

catches a glimpse of itself in a mirror
is my hair really that gray
tied in its own knot

Symphony in E-flat Major, K. 132 - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood

my understanding
is that the events for which such things as symphonies were composed
included other musical numbers
interspaced among the movements
or perhaps the symphony was regarded
as just the set of pieces
for the orchestra to play
when they played their bit 

so: were some 18th Century symphonies composed knowing what other pieces might be performed between their movements?
a set of orchestral interludes?
how and when did it shift to become the main show 

measured regular time spans

Sonata in D Major, Op. 9 #3 - Jan Ladislav Dussek - Viviana Sofronitsky

all the newest figurational gadgetry
see what I can do 

truth be told
it is fun to play
but doesn't really get much of anywhere
outside of the flash pan

March 2, 2021

Sonata in G Major, Op. 36 #2 - Muzio Celementi - Howard Shelley

a teaching piece
but not just how to play
also to teach what good taste is

Symphony in D major, Op. 36 (#2) - Ludwig van Beethoven - Vienna Philharmonic- Wilhelm Furtwängler

accent syncopation for sure
but also the odd places within the meter
where twists are found

the minor modulations are syncopated also 

this recording
presumably lifted from 78s
has a fascinating surface noise
full of restless spirits
as though
at times
it had been recorded on a used tape
imperfectly erased
the remnants grow back

March 4, 2021

Sonata in F minor, Op. 20 - Johann Nepomuk Hummel - Constance Keene

ornamental melodic
spare melodies

fancy figuration
spare figuration 

caught up in its own performance
this piece is about playing this piece

wears fancy duds 

the materials don't interrupt
the fancy frills have their place
and don't presume structural importance
that is
no thought is paid
to modulations among its frills

Introduction et polonaise brillante - Friedrich Kalkbrenner - Francesca Carola

likes quickly repeated notes
gassed by the escapement action
more a routine than a piece

Postscripts

::Consult the Oracle

slow my breathing waiting to see if some-

thing is going to happen it is dark my

lord and I hear in rubber shoes twice

Reality Check::

is colder

the blankness of my walls

the honey jar

Playlist

Preface

"Take history: it is a determinate reification of the antecedence of our sentient existence, a demonstrated perspective on who we are, on where we are. Its truths are inescapable, and pervasively account for major aspects of the world that directly and significantly affect everyone's life. Nevertheless, persons do not perforce experience their conscious living as history, as historical events, or qualify their experience in the vocabulary of historical predicates. You could say that history proceeds, in a self-defined, self-contained way, on the outside of most people's lived lives, accumulating and accessible at any time by observations which can be perceived by anyone as true, without being, except in that sense, the actual content of anyone's experienced life-events."

- Benjamin Boretz "Prologue to ("Whose Time, What Space"): [A Seminar Talk at Eastman]" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

February 20, 2021

Choral Tapas - Seattle Pro Musica, Karen P. Thomas, director

Laudate Dominum from Solemn Vespers - Wolfgang Amadeus Mozart

western music cleaves to the linguistic model
notes
syllables
statements
making language as beautiful as possible
to say what it says
in the best possible taste

My Heart Be Brave - Marques Garrett

among other entries in a compendium of modern music types
what is this
or would it be
choral
secular
inspirational

February 26, 2021

nevertheless, we persist . . . (a virtual concert) - Julia Lougheed, clarinet, etc.

music by Bill Clay, Jessi Harvey, Kim Farris-Manning, Gabo Champagne

we had this going while eating dinner
hence few notes 

but I would like to lift up the piece by Jessi Harvey, formerly of the Seattle area,
involving spoken texts
overlapping spoken texts
(I think,
we were eating)
and clarinet percussion.
perked my ears right up. 

stray notes about the set as a whole

::
euro vision
re-canceled 

there is an integrity about this event
that I truly admire 

this silence can not be imagined
it can only be done

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

February 20, 2021

Josh Medina

steady state
sounds exist together
like a river and a hill
exist together 

neither moves the other
they keep their places
the light changes around them
through the hours 

but there are no landslides 

and if we move to a new viewpoint
we have no qualms
any of it has vanished from continued existence 

 the mix is distinguishable from other mixes
clearly
just as one landscape is distinguished from another 

visitations occur
but don't change the river
or the hill 

larger changes may incrementally alter everything
but can only be imagined 

we are left with a sound
that analyzes itself acoustically
without demarcated objects
syllable-less
phoneme bereft

sequence not confused
nor fraught
just not possible
flow without motion

February 21, 2021

Tiffany Lin

autoharp unzipping
reveal each chord
accept as such (familiars) 

a chord change sequence
is not
primarily
a method for establishing* a key
*or evoking one
is its own thing 

more like 16th Century practice than 18th

Recorded

February 20, 2021

Camptown Races - Stephen Foster - the Gregg Smith Singers [from The Great Sentimental Age]

complete
with
carefully
enunciated
gwines

Largo for Violin, Clarinet and Piano - Charles Ives - Chamber Music Northwest, David Shifrin, Eriko Sato, Irma Vallecillo

violin and piano
kept in separate room
from the clarinet and piano
and from the three together 

no fraternization allowed

Meditation on a Theme by Claude Debussy - Zoltán Kodály - Jenö Jandó

we are conveyed on the dream stream through perfumed grottos 

will-less

February 21, 2021

Images - Claude Debussy - BRT Philharmonic Orchestra Brussels, Alexander Rahbari

key click immediacy in recorded image
pitch structure is as essential to hearing what's going on
with these music sounds
as the motions among instrument groups
he's working with 

each together and more 

our shape shifts
different parts of our shapes
shift differently 

the depth of focus
in the mix of sounds
making up
that just so sound 

it isn't that he's the best orchestrator of his age
though that he may be**
but that he composed*
with his orchestration 

*lyric doubles of ravishing dance 

**but then Stravinsky

Hungarian Peasant Songs and Dances - Béla Bartók - June de Toth

National Identity
was a thing back then
still a problem 

arted up transcriptions

these sound like they were recorded in a small room
another peculiarity in the production
with no reverb as such
small room
the sound just stops
the signal clears quickly 

so they squeeze the tracks together uncomfortably 

Lisztian transcription for concert performance

Wind Quintet - Carl Neilsen - Athena Quintet

such pleasant harmless games
must be a gas to play
everybody gets to sound great
social orchestration 

and a very nice hymn indeed
variations
everybody comes out in a new costume every minute or so
hymnody in the background

Let's Misbehave - Cole Porter - Karen Eisenbrey, Keith Eisenbrey

nice job past us

Gone Dead Train - King Solomon Hill [from Allen Lowe's Turn Me Loose White Man]

flexible tempo extreme
strict when it wants to be
generous with the surface of time
upon which to spread
the blues are a prayer

Barefoot Boy With Boots On - Roy Cox [from Evans 78s]

a question
the blues is a particular confluence
of harmonic structure and lyric slant
were there
are there
other such confluences
that never made the big time 

extemporary verses in a solid frame

Danses Concertantes - Igor Stravinsky - Los Angeles Chamber Orchestra, Neville Marriner

every move repercusses
and there are many moves
every pass
any segment
is a slide specimen of music history
orchestration
sharper edges
brighter more primary colors

{from my blog post of April 25, 1995: the sense of a set of pieces, without, somehow, the actuality. Overlapping of tempo boundaries/thematic boundaries/activity envelopes. more clearly: out of precisely sized fragments of pieces a sense of listening to a set of pieces is formed. Slipping continuously into a new piece: almost Mahleresque in the constancy of its shiftings.}

February 23, 2021

Ritmo Afro Cubano - Chano Pozo [from Allen Lowe's That Devilin' Tune]

fast multipitch drumming with cyclic punctuation
regularity presumed
as an image
if not graspable
as obviously true
with vocals overlain
that may match up with the cycles
or have their own

Symphony in C-sharp minor, Op. 131 (#7) - Serge Prokofiev - Royal Scottish National Orchestra, Neeme Järvi

back to the CCCP
because unlike in the USA
symphonic concert music was still a vital cultural activity
here:
moribund
what was vital here
was alien
back to where people remember
what he remembers

Why Baby Why - Pat Boone [a Rescued Record]

why (won't you please me when you know you care (can)) 

let me count the whys

Baby, I'm In the Mood for You - Bob Dylan [from Biograph]

trying on another Bob Dylan for size
can't quit nail the yokel vocal

February 24, 2021

24 Preludes, 5-8 - Lockrem Johnson - Keith Eisenbrey [from Preludes in Seattle Part 2, March 17, 2007, University Temple United Methodist Church, Seattle]

rushed

Tableaux - Milton Babbitt - Robert Taub

this music has a plenitude of corners for music to hang out in
and it does
 jumps out like spiders 

arachnid
xtuple-dimensional
speed chess

("...my chart shines high where the blue milks upset...") - Benjamin Boretz - Keith Eisenbrey [recorded at a home recital on February 26, 2020]

this music
seeks out 
explores carefully
checks back in
fills

Wimpy - Orbaneja [from Orbaneja]

this music is on stage doin' a show

February 25, 2021

Prelude - Aaron Keyt - Keith Eisenbrey [recorded October 19, 2006]

nicely played past me!
nothing in this piece is overwrought
a lovely study in figuration, melody, counterpoint, and harmony
all in a balance
quasi pastiche

Introduction to Grand Serenade - P.D.Q. Bach [from Music for an Awful Lot of Winds & Percussion]

that's it, just the introductory we're all in on it wink wink

Banned Rehearsal 442 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [January 1997]

Keith Eisenbrey · Banned Rehearsal 442 970125

recorded hot so drums have presence
even the light percussion is right there
drums electric guitar tenor sax violin light percussion 

we are a large crowded painting

my journal page from September 28, 2004

in lively colors 

we gentle out

slightly raucous
lurking cornet

the era between the last Brechemin gig
(Banned Rehearsal 440)
and Teach Yourself to Drive
(our CD) 

banjo speaks dulcimer also
as amplified
or perhaps tenor banjo
with steel slide 

giant
belly
raspberry
jams 

 ticka ticka tickle too 

some synth sound I don't recognize
the Wurlitzer possibly
yes the mighty W
its
self 

nothing will be turned down
play it big
blast furnace
white hot

theme song for the decade of chaos
Mosh at Banned Hall
even the funmaker gets its jollies 

we make this noise because we are here
before we hung the plow wheel
from the rafter 

In Session at the Tintinabulary

February 21, 2021

Banned Telepath 71 Toad Hall - Aaron Keyt

February 22, 2021

Banned Telepath 71 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

Banned Rehearsal 1020 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer

Keith Eisenbrey · Banned Rehearsal 1020 210221-22

As has been our practice while in seclusion, Aaron sent sound from Outpost Toad Hall and Anna and Neal called in from Outpost Lake City to where Karen and I were improvising at the Tintinabulary.

Postscripts

::Consult the Oracle

sint mecum ut maybe also may work

in the which I do by nature which is

looking out 11 tells you that that

Reality Check::

a such beetle like thing

spins the blades 

of Jack the Ripper

Playlist

Preface

"A music musically 'real' but verbally indeterminate - or at least verbally neutral- susceptible to infinite experiential variety and unlimited creative response, but opaque to judgment; a discourse expressive and committed but removed from the territory of truth or authority; a pedagogy intensely holistic but non-abstract and untestable, are all subversive to the existing social order of musical things. They cannot be controlled or institutionalized without being transformed into their negations. They threaten to materialize a world of acts which are expressive and rational but not manipulative or usable as criteria of judgment. Can our world stand to have any even so insignificant a stratum of it running around loose like this?"

- Benjamin Boretz "Music, as a Music" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Recorded

February 13, 2021

Aria 'La Capricciosa' Partita diverse sopra una aria d'Inventione in G, BuxWV 250 - Dietrich Buxtehude - Simone Stella

a model for the Goldberg Variations? 

the aria stays in view at all times
like spokes
rather than a venturing path 

doesn't even get far from the 3/8 meter 

demonstrating what one can do with a thing
not where one can take it
nor how far

Huitième Ordre (si mineur) -  François Couperin - Kenneth Gilbert

works at lifting its spirits
but is in a mood 

echoes of an older metrical practice leak in 

what differentiates this from virginal music of the 1500s
how the ornaments are styled
variety of figuration
underlying harmonic* syntax
predominant framing of piece-ness
subject and elaborations
binary derived formats
*cadences are harmonically structural
rather than being demarcations
phrases are dialogic
a conversation
rather than a yarn being spun 

rondeau not just a familiar place to return
but also an exact shape of time to measure by

Die Wohltemperierte Klavier, Band I - Prelude and Fugue in D Major - Johann Sebastian Bach - Sviatoslav Richter

a happy little creek finds a noble purpose

the bit of dramatic homophony at the close of the Fugue
is an echo of the 'both hands play all of a sudden' episode in the Prelude

Menuet in E-flat Major - Carl Philipp Emanuel Bach - Miklos Spanyi

in the best fashion
just so

Capriccio in G Major "Acht Sauschneider müssen sein", Hob. XVII.1 - Franz Joseph Haydn - Christine Schornsheim

from what operetta could such a line be lifted?
was it a popular ditty sung upon the streets?
or an inside joke for Joe and his drinking buddies? 

subsequent research reveals that it is based on an Austrian folk song about how many people it takes to castrate a pig (eight)

February 14, 2021

Symphony in D Major, K. 135 - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood

corporate crescendo
the latest trend
(trendy crescendi) 

marks off
corners
lengths
fills with flash and dazzle

brilliant plumage
ein Vogelfänger bin Ich ja

Sonata in C Major, Op. 9 #2 - Jan Ladislav Dussek - Viviana Sofronitsky

at about the time of the increased promulgation of the fortepiano
individual movements began to be full of highly differentiated episodes
both expressively (affect)
and figurationally (mechanics)
the model of the human mind became a less simple creature 

when was the damper pedal introduced? 
we blame Gottfried Silbermann (1683-1753) who used a hand stop rather than a pedal

ends with a comic song sort of number

Sonata in C minor, Op. 10 #1 - Ludwig van Beethoven - Emil Gilels

holds reserves
generous with time
we get to know these movements
live them 

night sprites

February 15, 2021

Sonata in C Major, Op. 2 #2 - Muzio Clementi - Howard Shelley

includes its own asides
bass line remains completely structural
subservient

Impromptu in F minor, Op. 142 #4 - Franz Schubert - Murray Perahia

where will this single figure take me 

bravely drawn

Etude in E Major, Op. 10 #3 - Frédéric Chopin - Alfred Cortot [1942]

sing the song first
the rest will fall into place

Piano Quintet in E-flat Major, Op. 44 - Robert Schumann - Budapest Quartet, Rudolph Serkin

trapped in an ecstatic loop
fights like crazy to break free
opens with a measure that brings us to a new trap
all modulations descend
we rage to emerge
avail-less
the pages fly off the desk
can't write quickly enough
over it all an angel hovers
we struggle
hopeful
everybody loves a fugue

February 16, 2021

Variations Brillantes on a Mazurka of Chopin - Friedrich Kalkbrenner - Francesca Carola

a 19th Century Art Tatum plays Chopin
heavy on the Brillantes

Boris Godunov, Act IV Scene I - Modest Mussorgsky - Polish Radio National Symphony Orchestra, Jerzy Semkow, Martti Talvela, Leonard Mroz, Nicolai Gedda, Bozena Kinasz, Andrzej Hiolski, Aage Haugland, Halina Lukomska, Polish Radio Chorus of Krakow, Boys Chorus from the Krakow Philharmonic Chorus

disjointed parts add up to a discollective identity
things are falling apart

Symphony in D Major, Op. 73 (#2) - Johannes Brahms - Scottish Chamber Orchestra, Charles Mackerras

the spotlight moves to different parts of the orchestra from segment to segment
then becomes two spotlights
avoiding full tutti
if one doesn't emphasize the common warm glow
the individuated scoring of each passage
provides a drama told piecemeal 

a symphony of things to notice on a Summer day in the country
idyll of pre-industrial bucolic life
in the rearview mirror 

even the beginning of the 4th movement is a mitigated tutti
not until the last few pages does it go all in

February 17, 2021

Parsifal, Act III (Beyreuth 1966) - Richard Wagner - Bayreuth Festival Orchestra, Pierre Boulez, Thomas Stewart, Kurt Bohme, Josef Greindl, Sandor Konya, Gustav Neidlinger, Astrid Varnay, Hermann Winkler, Ger Nienstedt, Ruth Hesse, Elisabeth Schartel, Dieter Slembeck, Erwin Wohlfahrt, Ruth Hesse, Anja Silja, Dorothea Siebert, Lily Sauter, Rita Bartos, Helga Dernesch, Sona Cervena, Wilhelm Pitz (chormeister)

out from hopelessness
triumphal despair 

all the leitmotivs have settled into a stagnant sump
headway unmakeable 

Beethoven: a melody is a tool to build with
Berlioz: a tune can stand for something, can signify
Wagner: I can work the significations as a tool to build a drama with
even when nothing happens 

doomed days go by
nothing left to signify
some shouting

February 18, 2021

Slavonic Dance in D-flat Major, Op. 72 #4 - Antonín Dvořák - The Cleveland Orchestra, Christoph von Dohnányi

light classical? if so, how to approach?
study in balance and stability
a composition game
like still lifes

150 Psalm - Anton Bruckner - Eugen Jochum

every few measures is part of something else uncontained

In Session at the Tintinabulary

February 17, 2021

Work / Architecture / Unity / And /The - Keith Eisenbrey - Keith Eisenbrey

I made another recording of this 2002 piano work. I need to think more about the space between each of the bits. The original idea was that we would come upon each bit suddenly as though from a dense fog, so I waited for each bit to at least be a finished thing before moving on. Now I think it might be better to not have breaks between them at all, let the out-of-nowhere effect emerge from the rhetorical contrasts rather than from a literal nowhere.

Postscripts

::Consult the Oracle

tiring by the guard and I to each

usually were small talk we inn new

have known city shadowing very

Reality Check::

we turn a corner

in stop frame motion

and hear

Playlist

 Preface

"A music is not a tree, or an earthquake, right, but it's also not a story, a fact, an opinion, a structure. Metaphorically, music is said to be, and can be, any of these things; but except in the most extravagantly abstract fantasies, such semiosis is never literal or exact or rigorous, but always looks across an unfathomable analogical gap. Cognition, nonverbally, does not entail recognition, or representation. Seemingly basic musical 'facts' such as repetition, chords, melodies, parametric geographies, etc., are really only verbal 'facts', primarily opaque to music, but radically reductive to it if they're ontologically transferred into music as representational 'musical facts'. But since intersubjectivity is supposed to be restricted to the symbolic-linquistic, and since cognitivity is supposed to depend on intersubjectivity, how is it possible to identify in interpersonal space a linquistic but nonverbal 'music reality'?"

- Benjamin Boretz "Music, as a Music" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

February 6, 2021

Harold Budd & Keith Lowe

[recorded at the Chapel Performance Space, Good Shepherd Center, Seattle, on June 11, 2009]

a tree speaking by its roots
past sunfall
near moonfall
long hours 

landscape with fence and shore 

degloaming lazily
allowing
soon
bright hills
still far 

monasterial
all the steps
are taken

spinning voidward

Recorded

February 6, 2021

Sonata in D Major, Op. 40 #3 - Muzio Clementi - Howard Shelley

differentiated tempo episodes
depends on
who is looking at the time 

we can be well behaved
but fun is harmless

Impromptu in E-flat Major, Op. 90 #2 - Franz Schubert - Murray Perahia

affect changes from within the figuration
the ground shifts under us while we frolic

weather arrives

characterization by implied description

Scherzo in B minor, Op. 20 - Frédéric Chopin - Vladimir Ashkenazy

internal focus
we hear a self
reflecting thinking
thoroughly 

multimovement work folded into a single thought

Piano Quartet in E-flat Major, Op. 47 - Robert Schumann - Quatuor Via Nova, Jean Hubeau

balance is background as frame of thinking
what is out of balance with itself
is to balance other phrases
pulling other ways 

excitement and horror
for the thrill of it 

3rd movement owns
so gentle 

now for a game a tag

February 7, 2021

Boris Godunov, Act III Scene II (1872 version) - Modeste Mussorgsky - Polish Radio National Symphony Orchestra, Jerzy Semkow, Martti Talvela, Leonard Mroz, Nicolai Gedda, Bozena Kinasz, Andrzej Hiolski, Aage Haugland, Halina Lukomska, Polish Radio Chorus of Krakow, Boys Chorus from the Krakow Philharmonic Chorus

almost blockprint clarity of parts 

an element of fear to begin
but rising to the emotional high point 

big martial pageant
everybody loves a parade

nothing lasts
situation is unstable 

Dmitri's heroic tune has a family resemblance to Walther's Meisterlied 

tied in a knot
the eroticism
of patriotic
upwelling
feeling

Concerto in D minor - Max Bruch - Seattle Symphony Orchestra, Gerard Schwarz, Nai-Yuan Hu

midway life's drama
wrote some tunes 

sempre espressivo

these melodies don't talk to each other
they just spin on and on 

all monologue
all the time 

too much tutti 

a tearjerker
jerk's tears 

2nd movement
more intensity
as an opera scene
than the 1st movement 

orchestra's default is monolithic
it all speaks as one 

moral

things are bad

but will modestly improve

Parsifal, Act II - Richard Wagner - Bayreuth Festival Orchestra, Pierre Boulez, Thomas Stewart, Kurt Bohme, Josef Greindl, Sandor Konya, Gustav Neidlinger, Astrid Varnay, Hermann Winkler, Ger Nienstedt, Ruth Hesse, Elisabeth Schartel, Dieter Slembeck, Erwin Wohlfahrt, Ruth Hesse, Anja Silja, Dorothea Siebert, Lily Sauter, Rita Bartos, Helga Dernesch, Sona Cervena, Wilhelm Pitz (chormeister)

a different part of the woods entirely 

these two have a difficult relationship
but it makes sense as a relationship
unlike anything in Act I 

getting the old coven
back to gather again 

her attempt at seduction is well planned
she impersonates his mother
and never stops talking at him 

again icky
but completely believable 

all I want is a kiss wink wink 

fill a voice with anguish
fill a room with a voice
fill a room with anguish

Slavonic Dance in F Major, Op. 72 #3 - Antonín Dvořák - The Cleveland Orchestra - Christoph von Dohnányi

a slavonic dance
being a dance
has a rigid format
so that folks know
where to move
and when 

we can decorate the wall
as we wish
but the walls remain
a voluntary restraint 

[NB this one is a stronger composition than the first two]

Fuge in E minor, Op. posth. - Alexander Scriabin - Michal Ponti

turns it into a Schumannesque essay on repeating transparent transformation

from my journal entry of May 21, 1995: clear and colorful. academic, yes, but almost nostalgically so.

Three Piano Dances from Good Times and Dances - Stephen Foster & Charles Ives [from The Great Sentimental Age - Gregg Smith Singers]

straight from that hotbed of intellectualism
the Harvard beerhall
late 19th Century 

the keyboard style reminds me of simplified Brahms Hungarian Dances
or Chico Marx 

I presume these are all by Stephen Foster

Symphony No. 2, Op. 16 "The Four Temperaments" - Carl Nielsen - London Symphony Orchestra, Ole Schmidt

the meta affect of an older psychology
better sibling of
or cousin of
The Planets 

neo Baroque
trying to make itself small
such frustration
everybody is allowed to wear a corset 

The 4 Impersonations of the Temperaments in Symphonic Sound tm 
we choose 4
because it might
could
balance 

this may be an inaccurate characterization

February 8, 2021

6 Songs - Francisco Ernani Braga - Teresa Berganzo, Juan Antonio Alvarez Parejo

#1 features a low repeated tone drone in eighths
echoed by the single pitch drone in the 2nd part of the vocal. 

clarity - French influence?
well written but challenging for voice
supportive in both line and harmony
unpretentious but well made
popular in the operatic way of being popular
or even in the cabaret way

Grizzly Bear  - Jack Charman [from Allen Lowe's Turn Me Loose White Man]

nothing refined about it
this here's 'Merica! 

dance crazed
[thanks, Irving Berlin,
I guess]

February 9, 2021

Le Tombeau de Couperin - Maurice Ravel (Fugue arranged by David Diamond) - Seattle Symphony Orchestra, Gerard Schwarz

providing a serviceable orchestration of a non-threatening piece
a money making venture? 

interesting times to be composing such music

modernist:
impressionist
neo-classicist
symbolist
primitivist
expressionist
formalist 

a sad feature of this lush instrumentation for keyboard pieces is a loss of definition
something is obscured
diffused

Piano Sonata, Op. 34 - Alexander Krein - Jonathan Powell

like Scriabin, full invested in a heady brew
of expressionist
impressionist
formalist
(in the speculative formalist sense) 

intent on pursuing the new

God's Gonna Separate the Wheat from the Tares - Blind Joe Taggart [from Allen Lowe's Really The Blues]

flipping his Rs

meter determination:
standard procedure:
first find one 

already on the wrong track

Violin Concerto No. 1 - Bohuslav Martinů - Czech Philharmonic Orchestra - Vaclav Neumann, Josef Suk

comes out fighting
temperature is high
we're being squeezed
into small spaces 

in the last decades
before it became ridiculous
to compose such things
as violin concertos 

this should be the happy domestic movement
it's nervous 

is this whole thing on the E string/?
loves motors

Chanson russe for Violin and Piano - Igor Stravinsky - Joseph Szigeti, Igor Stravinsky

means match ends
as cabaret ready
as Satie or Weill

Fanfare For The Common Man - Aaron Copland - Seattle Symphony Orchestra, Gerard Schwarz

who are the drumwhaps for? 

tries for that
also sprach Zarathustra vibe

Thermopolae - Stan Kenton [from Allen Lowe's That Devilin' Tune]

for the movies
the mean streets
noir 

not for the dance floor
nightmare cabaret

Lawdy Miss Clawdy - Lloyd Price [collected from Dave Marsh's The Heart of Rock & Soul]

music for a new mode of dissemination
radio first
jukebox
45 platter

Winter Music - John Cage - The Callithumpian Consort, Stephen Drury

for dismembered pianist and scattered gestures

Wedding Song - unknown composer - Betty Eisenbrey, Joanne Deacon

from a private tape. This is a setting of the same text different translation from Ruth that I set for David and Yvonne's wedding way back in the way back

February 10, 2021

Agnus Dei - Samuel Barber - Robert Shaw Festival Singers, Robert Shaw, Arietha Lockhart

the all-purpose adagio
ka ching 

better settings
much better
of Agnus Dei exist
and inflating the string quartet movement
does it no particular favors 

but
ka ching

The Lord Is My Shepherd - Randall Thompson - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [April 14, 1972]

choral arrangements can be lucrative
relatively
for the publisher anyway
since they sell so many copies per performing group 

the trick is to make them anodyne and yet skillfully done

Games - Ann Peebles

everything fits
everything makes room

Pastorale: "The Color of Water" take 3 of October 12, 2010 - Neal Kosály-Meyer - Neal Kosály-Meyer

such a frail bark for so much words 

may be the last time he finished a piece
that had written down notes 

a line of hills
slowly rehearsed 

Yonder She Comes - Seeger Family [from American Folk Songs for Children]

greetings and small talk for light courting

Banned Rehearsal 286 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt

Keith Eisenbrey · Banned Rehearsal 286 920221

variations on a baby babbled theme
for piano and horn
at Toad Hall
else whence the piano
which we didn't have available
in the room we used
at the Tintinabulary
then 

so much empty space in the signal
I can hear Aaron's horn entrance
2 wraps of tape
before it arrives
such magnificent blats
as though we took cues
from the future 

John does very good standing 

I don't remember how we set up the microphones at Toad Hall
I presume we brought the PZMs but may be mistaken
Aaron might have had some microphones
too long ago
no picture in head

Stillborn - The Keeners [a Rescued Record]

socially acceptable mode of social dis-acceptability trapped in song form

February 11, 2021

Piano Trio Movement - unknown composer - unknown performers possibly including Betty Eisenbrey [from a private recording]

I believe this is from a local adult chamber music camp my Mom would attend in the early 2000s

Violin Duo - Elaine Barkin (electronic realization by Loren Norell) [from Open Space 24]

centered much further east than the angels
much further even than our east
an emptiness more empty than the emptied east

Banned Rehearsal 805 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [January 2012]

Keith Eisenbrey · Banned Rehearsal 805 120109

after announcements it accumulates slowly
radio ice breaker dragging heavy chains
rough terrain
fights back 

foregroundless

vanishes

Looking - Benjamin Boretz [from Open Space 44]

plain parts on severe paper
plain light
harsh
without echo

Nancie, Fvb 12 - Thomas Morley - Claudio Columbo [from Fitzwilliam Virginal Book]

a mere nothing
in all its glory
to show how 'tis done

Voltes - Michael Praetorius - New London Consort, Philip Pickett [from Dances from Terpsichore]

musicians who wrote music down
were trained to do so
for vocal part writing
that being how and why
written down music
was written down
they made instrument families
to imitate the voices
so they could write written down music
for instruments
too

In Session at the Tintinabulary

February 8, 2021

Banned Telepath 70 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey

February 9, 2021

Banned Telepath 70 Toad Hall - Aaron Keyt

Banned Rehearsal 1019 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt

Keith Eisenbrey · Banned Rehearsal 1019 210208-09

The banned gathers for times to meet

Postscripts

::Consult the Oracle

of vapour the is serene to habitually

caused in soul by thee divine be a

spirit as well by reason of the

Reality Check::

drifting away on a seaweed covered surfboard

through his left hand as orange

the cat sleeping on my ankles