Upcoming This Week
Saturday, March 7, 2014 at 8pm
Chapel Performance Space, Good Shepherd Center, Seattle
Featured composers:
Clement Reid
Coreena
Aaron Keyt
Jay Hamilton
I will be performing Aaron Keyt's Sonata (2012) for solo piano - a Haydn sonata skewed inside out, rejiggered upside down, and refracted on an oblique plane.
Recorded
February 23, 2014
Banned Rehearsal 57 (Telepath 5 Mix) - Keith Eisenbrey, Anna K, Aaron Keyt, Karen Meyer, Neal Meyer - December 1985
The Telepath projects have, if you'll pardon the pun, mixed results. In this instance, the variety of recording procedures among the input tapes turns the output into an interesting dialogue about transparence and opacity, their strongly segmented structures of protracted static episodes combine to tell a tale in postures of room size, and the joint effect of three noisy heaters provides a solid standing ground. One of the winners.
Extracts 12 - Keith Eisenbrey - December 2010
The last iteration in my study of Scriabin's Prelude op. 74 #4. For details concerning this project see last week's post.
Banned Rehearsal 60 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer - December 1985
Vocalization, guitar thwangk and tongue drum. Little room is left, the sounds each fill their space, butt up against each other. Mass ukulele. Some songs: Sunday in the Metropolis espresso shops are closed / need a new pair of shoes but the shoe stores are all closed / head is splitting Sunday in the Metropolis / fogged in airplane goes round and round can't get to the ground / airplane food don't taste good :: If I started singing about a lizard on a tree / would you pull that robe away / would you set me free? :: Ain' No Easy Woman.
Figure Study 6 - Keith Eisenbrey - December 2010
A solo piano improvisation. The occasional close temporal proximity of incidents doesn't change the overall extreme slowness of the pace. The point here is to hold steady, like a mountain.
Banned Rehearsal 61 - Keith Eisenbrey, Anna K, Aaron Keyt, Karen Meyer, Neal Meyer - December 1985
Starts quietly with wind instruments and other sustainers. So thin it is hard to believe there are five people in the room. For 40 minutes this is not about its tapeness, it is simply a recording of an improvisation session. The point of the session was us, not the result. The moment the microphone is addressed the spell is broken.
End and Begin
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| Maple Leaf, Seattle - February 2014 |
At this point a word of explanation will be useful for my readers, who may have noticed a preponderance of music from 1985 and 2010 in recent postings. Since my early twenties I have kept a database of the recorded music in my collection. It started on notecards, moved to a program written by my brother Paul, then for many years in Paradox, and finally now in Access. As the size of the collection increased I developed a method of choosing the next selection for listening. This essentially involves moving progressively and repeatedly through time, in an increment of 50 years. In other words, I would listen to something from 1750, then from 1800, then from 1850, etc., repeat until that cycle was exhausted, then step up to 1751, 1801, 1851, and so on. At the beginning of 2009, I decided to switch to an increment of 5 years, and since that time I have been listening to that segment of my collection stemming from years ending in "0" or "5". Banned Rehearsal was especially prolific in 1985, and there were also, apparently, a great many selections in 2010, so as I got to the end of the list these years remained. Now it is time to move on to years ending in "1" and "6". At this time there are nearly two thousand selections in that group, so I'll be at it for a while. There is some wonderful music out there. Enjoy!
February 26, 2014
Missa pro defunctis a 5 - Palestrina - Chanticleer, Joseph Jennings
Within a circumscribed world, placement and attitude gain subtle precision. Spinning out, starting over, starting spinning, over, out.
"T'amo, mia vita!" - Gesualdo - Consort of Musicke, Anthony Rooley
Liquid time, wrapping around to look back.
Konzert in B, BWV 1051 - J.S. Bach - Berlin Philharmonic, Herbert von Karajan
Repeated beginnings echo and fall away, ever-flowing weaves articulated only ever-so-gently by cadence.
Februray 27, 2014
Sonata in C, Wq. 48 #5 - C.P.E. Bach - Bob Von Asperen
As though multiple bits of several sonatas provide platforms for sudden articulations - always about the new place it is going to or is suddenly being or is poised from which to leap.
Variations canoniques sur le chant de Noel: Vom Himmel hoch, da komm' ich her, BWV 769 - J.S. Bach - Michel Chapuis
Each polyphonically active state is complete and worked out, each voice spinning cooperatively - how they fit more than how they go along. No loose ends here.
Quartet in G, Op. 1 #4 Hob. III:4 - Haydn - Tatrai Quartet
In C.P.E. Bach the role played by invertible counterpoint as a driver of formal trajectory is still huge. In that he was his father's son. Here that role has been effaced by the play of musical phrases with their metrical balance and intricate tonal relations. A new regime.
Symphony in D, K. 32 - Mozart - Academy of Ancient Music, Christopher Hogwood
An insinuating charm within the splash and fuss.
Sonata in G, Op. 49 #2 - Beethoven - Emil Gilels
Intensely understated, making exactly no more of it than it itself is.
In Session at the Tintinabulary
February 23, 2014
Takemine 140223 - Keith Eisenbrey
Improvisation on solo acoustic guitar.
Sylvania 140223 - Keith Eisenbrey
I finger drummed on a spent incandescent bulb. Lux defunctis.
Upcoming
April 12, 2014 - 8 PM
A Cat's Life Returns Again - a recital by Keith Eisenbrey, piano, with special guest Olivia Sterne, narrator
Chapel Performance Space, Good Shepherd Center, Seattle
Attitude - Doug Palmer
Greek Nickel 2 - J. K. Randall
Sonata (2012) - Aaron Keyt
A Cat's Life, a little opera for solo piano (1990) - Keith Eisenbrey
June 27, 2014 - 8 PM
Banned Rehearsal Celebrates 30 Years of Noise
Chapel Performance Space, Good Shepherd Center, Seattle
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