December 8, 2018
How Firm a Foundation - Keith Eisenbrey, Keith Eisenbrey
my recording of December 5, 2018
unfinessed timing, but with great care to amuse
Satan, Your Kingdom Must Come Down - Sister Fleeta Mitchell, Rev. Willie Mae Eberhart [from Art of Field Recording, Vol. 1]
at ease with its confident command
Soundform II Cricket - S. Eric Scribner - [from Storm Sound Cycle, May 2011]
it is as though this weren't music we were listening to
but washes of layered ambiences
any story line focus is deliberately frustrated
so that we can experience this space without participating
a particular distance at which it grows dark
Finnegans Wake Part 2 Chapter 4 - James Joyce - aleorta [from Waywords and Meansigns]
outside inside
a quark an ark a bark
a beach of words like sand churned into filtered whorls of thematic synergistic jumbled geology
worlds piled into higglepiggle rhyme heaps
bits of precontext clinging
mucking up the whole weary moraine
repetitions
stammers
a dye has been applied to these lists of words
radio-ating
December 11, 2018
Aria - Thomas Simpson - The King's Noyse [from Mascharada]
Something about the way pitches repeat at register is more than vaguely reminiscent of Webern.
King Arthur Act IV - Henry Purcell - Le Concert Spirituel, Hervé Niquet
a musical extravaganza held together by a plot
but the extravaganza of the music is primal
which is why a dance number as a part of one of these things makes perfect sense
Wagner's through-compositional compulsion was just a way of making plain what had been developing all along, it actually lessens the importance of the music as such with which opera began its history
slow groundwork allows weightless lift
oops, dramas
setting a dense poem chorally adds density without contributing clarity, comes across like a movie adaptation of a book
Kansas City Shuffle - Bennie Moten [from Alan Lowe's That Devilin' Tune]
show dance upon which variations or doubles compete
Dona Nobis Pacem - Ralph Vaughan-Williams - Atlanta Symphony Orchestra & Chorus, Robert Shaw, Richard Clement, Nathan Gunn, Patricia Nealon, Pamela Elrod, Sean Mayer, William Borland
much like Purcell in the knee-jerk wordpainting, but inflated by more ample resources, oppressed by the imperative to be important, National
the sentimental sanctimony of Empire
unlike Purcell in that it takes itself seriously
wordpainting fails to enhance text's meaning, it merely underlines an empty aspect of it
good for a laugh, but otherwise generally a distraction
it would help if he had any sense of timing or proportion
December 13, 2018
Concerto for Guitar and Small Orchestra - Heitor Villa-Lobos - Chamber Orchestra of St. Petersburg Philharmonic, Vladimir Altschuler, Marco Tsessos
mid20thcentury Display Concerto
a vehicle
for solo enhanced by orchestra
the play of sounds against each other - what makes a concerto a concerto - given lip service at best
given that limitation this is a rather attractive example, with melody up front
All The Things You Are - Art Pepper [from The Way It Was]
mumbling in close formation they scrawl a tune
Skinnie Minnie - The Sonics [from Boom]
woohoo!
hey!
Crepuscle With Nellie (take 2) - Thelonius Monk [recorded in London on November 15, 1971]
syncopation can be accomplished by playing ahead or behind the felt beat
or, as here, by moving the beat to where you need it, stretching and squeezing the flow into a taut rubato
Tomorrow - U2 [from October]
pipe tune
builds up
only to get to where the fade is
Rock and Roll - The Velvet Underground [from Another View]
trying different vocal persona, demo-ish, (or self study)
rough song, smooth coda
what might this sound like if we were to do it this way?
No comments:
Post a Comment