Preface
"In music, as in everything, the disappearing moment of experience is the firmest reality; but the fictions of permanence, invented for the benefit of discourse and contemplation, are so much more firmly graspable by the conscious minds whose invention they are, that they, rather than the vanished traces of elusive experience, are the referents on which the firmest conceptions - intuitions, even - of reality are built. And thus do sanity - that is, the fact of sanity - and rationality - that is, the sensation of sanity - come into mortal conflict, threatening to dissolve the sensible integrity of existence. Music is what people can do to work at harmonizing that contradiction: to save significance while still sustaining identity as a continuous mental structure."
- Benjamin Boretz "Interace Part II: Thoughts in Reply to Boulez/Foucault: Contemporary Music and the Public" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"
Texts
Streamed
"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/.
July 4, 2020
Wally Shoup
in the I-90 Bike Tunnel
the long enclosed space splits sound into pitches that hang
the horizontal lingers as vertical
the order of notes linger as chordal balance
(voiced thus and in no other way)
the song keens and careens all the way out the ends
(music in architecture)
it likes that note
it presses back
it selects
it refines (audio alchemy)
July 5, 2020
Leanna Keith
flute improvisations
Completed thoughts fly straight, in continuing they don't turn to go in another direction, not turning just going. Clear thinking.
Our breathing can be our thinking, joined to language
how thought gets out of our heads
it finishes and starts again in the middle of what it is still thinking
solid
July 9, 2020
Gust Burns
"a subsequent iteration of deferral, like m said"
Its opacity is made transparent
that is, it is opacity and transparently so
or: the sound of abstraction occurring in real time
I am for myself
the whole of myself
hidden behind myself
and the machinery of self
this was deeply intriguing
touching on some of the idea nodes that Christopher DeLaurenti has been known to work with
Recorded
July 4, 2020
Banned Rehearsal 280 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1992]
cow bell, shakes
might gel if it didn't have that nasty backfire
a baby is in the room and someone says "ick"
best to turn aside if you're not going to help
rhythm band (I took the class)
we move on to flute, drum, and clangor
the instruments are portable
and the piano is not mine:
this must be at Toad Hall
I go all jazz chordy on it
(one of my finer moments, I say)
pre-ghosted sound gives us clues as to what to do
prompt provision
vintage cheerful baby babble
July 5, 2020
Trio in G Major, Hob. XV.25 - Franz Joseph Haydn - Philharmonia Virtuosi, Mela Tenenbaum, Alexandr Tenenbaum, Dorothy Lawson, Richard Kapp [from Musical Evenings with the Captain, Vol. 2]
we don't expect identity
we expect the difference
it is just that
it is a different difference than we thought we had expected
Track 1 - Unknown Ensemble [from Eisenbrey 2002 (Archives)]
this is from a CD my Mom had, presumably from some chamber music camp she attended, ca. 2002. If it is not Haydn, it isn't far
Comes Love - Back Burner [from Simmer On]
the science of underplaying it to perfection.
how. to.
Sonata (Edit A) - Aaron Keyt - Keith Eisenbrey
Instructions to myself: you have to play it as though it wanted to make sense.
It is its own resistance, vive le!
nice job, past me
a truly twisted tonal space, I'm honored to have had a part in it
Sleeping Awake - Noah Creshevsky - Dorota Czerner [from Open Space CD 37]
the percussion of words that break stones
how rhythm means meaning's inflections
is it only these three present?
damn! that's fine!
Walsingham, Fvb1 - John Blow - Claudio Columbo [from Fitzwilliam Virginal Book]
the major/minor contrast of later music is so crude in comparison to the play of poly-modality at play here
fellow figuration freak, Hail!
Gaude, Barbara a 5 - Pierluigi da Palestrina - Chanticleer, Kenneth Fitch, Joseph Jennings, Christopher Fritzsche, Corey McKnight, David Shaler, Kevin Baum, David Mudnerloh, Douglas Wright, tim Krol, Chad Runyon, Frank Albinder, Eric Alatorre, Louis Botto
sensuous breath rhythm
Palestrina Counterpoint (I took that class too)
we didn't, couldn't learn a thousandth of this
the study of musical notation is a valid and instructive discipline within the study of music
July 6, 2020
L'Orfeo, Act II - Claudio Giovanni Antonio Monteverdi - Ensemble La Venexiana, Claudio Cavina
no slack
nothing marks time
nothing hurries
La Bouree - Michael Praetorius - New London Consort, Philip Pickett [from Dances from Terpsichore]
an arted up version of a dance
for keeping track of social movements
social bodies in motion
Aria "Rofilis' in D minor, BuxWV 248 - Dieterich Buxtehude - Simone Stella
indoor music for long nights
with the smallest of time spans
and adjustments
Sonata a 3 - Allessandro Stradella - Opus4, Vicki Boeckman, Dorte Lester Nauta, recorders; Mogens Rasmussen, viola da gamba; Viggo Mangor, archlute
a variety show!
amuse the masters
La Descente d'Orphee aux Enfers, Act II - Marc-Antoine Charpentier - Les Arts Florissants, William Christie, Patricia Petibon, Monique Zanetti, Katalin Karolyi, Sophie Daneman, Paul Agnew, Jean-Francois Gardeil, Steve Dugardin, Francois Piolino, Fernand Bernadi
classical fan fiction music
draws us in
the melody tracks character's states
stays in character
July 7, 2020
Or, dites-nous, Marie - Pierre Dandrieu - Marie-Clair Alain
designed to impress
Sonata in F Major - George Frideric Handel - Michala Petri, Keith Jarrett
designed to amuse those in the know
or those who want to fancy they are
(This piece is familiar to me, I wonder if I accompanied somebody once?)
Ein Kindelein - Georg Philipp Telemann - University Temple Chancel Choir, Chris Vincent, Howard Wolvington, and strings
I had forgotten this, but there I am in the tenor section! If I am not mistaken Chris told us that he had been poking around in the UW music library looking for a Christmas cantata, and this score fell on his head.
Die Wohltemperierte Klavier, Band I, Prelude and Fugue in C Major - Johann Sebastian Bach - Sviatoslav Richter
such a light touch!
he doesn't Romance it up, it speaks for itself
Sonata in A-flat Major, Wq. 49/2 - Carl Philipp Emanuel Bach - Miklos Spanyi
This music finds itself distracting.
It stops to look again, asks the questions beneath its glibness.
It is theatrically aware of what it's doing.
Sonata in A Major, Hob. XVI.5 - Franz Joseph Haydn - Christine Schornsheim
he never loses track of his place in the scheme of things
the Jeeves of composers
This harpsichord either has two manuals or a stop for the piano and the forte. It might be explained in the interview that comes with the set, but my German is not that good.
Symphony in G Major, K. 129(129) - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schröder, Christopher Hogwood
mostly orchestral fireworks and toys
splash and flash
Mannheim crescendo, check
heard it wanted it took it
strong orchestration, but he's not yet the obsessive opera aria composer he gets to be later
July 8, 2020
Sonata in G minor, Op. 8.1 - Muzio Clementi - Howard Shelley
 |
| fig 8.1 |
One can easily hear what Beethoven admired so much - flamboyant virtuosity under tight reins of tonal thinking
the front door to B's brand of pianism
a keyboard figuration geek's keyboard figuration geek
(see Blow above)
July 9, 2020
Quintet in E-flat Major, Op. 16 - Ludwig van Beethoven - Soni Ventorum, Neal O'Doan
Neal was my piano teacher for several years at the University of Washington. I wasn't turning pages for this piece, but I did for the piece on the flip side of the record: Mozart's Quintet K. 496 (also in E-flat).
stylish concertante thinking (sound is grouped: piano in one group, winds in another, the music is concerned with how they infiltrate each other - like in a concerto)
mostly polite, patio party appropriate
more comic opera or intermezzo than high drama
the scary bits are more to wake us up than anything more profound
hey! listen here!
then a lovely song so that winds can show their stuff in turn
a bit of melodrama to finish it
light in spirit
"I am a merry shepherd lad" sort of thing
Polonaise in G minor, Op. posth. - Frédéric Chopin - Peter Katin
this is pegged as having been composed in 1817. Chopin was born on March 1, 1810, so he would have been 7. What is the evidence for such an early composition date? I have the Paderewski Edition, which states "Published in 1817, reprinted from the only known copy in Z. Jachimecki's book F. Chopin et son oeuvre, Paris 1930, pp 45-47. . ." So is it true that the early attribution stems from 1930? Is there another source for that information? Composers have been known to lie about their precocity, especially so soon after the Mozart thingy.
Postscripts
and talk and tell a buddy slick-tongued in
albany not guy had a couple thigh
backwards he didn't say blindfold throw back
a chessboard and a chairback
a monk on a prone wheel
yet another Monday morning
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