Preface
"Let me here go into a certain depth in the matter of descriptive discourse; the questions are about what is the relation between what is predicated of music and what is experienced as music; and, in particular, of the relation between structure-surface imaging and expressive-surface imaging: are they images of the same thing? - which, musically thinking, means, are they generative and/or descriptive of the same music-experiential "determinate feel", or is the essential music-ontological totality expressed in their union?"
- Benjamin Boretz "Experiences With No Names" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"
Texts
Streamed
Wayward in Limbo
August 29, 2020
Susie Kozawa
the thought speaks in the tongue that happens by
(as (then) it rolls across the floor)
singular thought with gathered tongues.
Susie shares as she enjoys what she has gathered to hear.
listen,
now,
to here.
August 30, 2020
Naomi Siegel - Gestation
in ample progression
arriving then going
effort is a part of this
making sound
sound must be done
you must do it
for it to be done
and done
it must be
so get to it
monitor the beat
tangle the bells
find the floor
intoning chorales
blow belly bubbles
transitions from one area of sound to another are simply done and for being so simply done are stunning moodtimewarps to a many roomed home
we will have been there and heard the whole
do not hurry
get to
all the places fully
for if fully
then no need to return
having been fully there
there is no there left
it has been
been in fully
humor illuminates, lightens, clarifies.
time happens here
sleep
sound
September 1, 2020
effects (reverb, etc.) (patches, filters) in electronica are an acoustic functional equivalent or counterpart to the physical box and the mechanical interaction and inter-resonances of acoustic instruments (instruments for which the sound is the sound of their whole physical body, untranslated through electromagnetic signal)
::
muddying the waters with waters
befouling the pristine with pristianity
folding the performer and instrument builder / designer collaboration
in from a single source
and drifting the focus of apparent compositional
intent
signal patch pristinity
Recorded
August 29, 2020
The Flood - Igor Stravinsky - London Sinfonietta, Oliver Knussen, Peter Hall, David Wilson-Johnson, Stephen Richardson, Michael Berkeley, Bernard Jacobson, Lucy Shelton, Soloists of the New London Chamber Choir
a strange version of the story (paraphrases of paraphrases (where a story begins and ends are arbitrary choices (full of meaning because they are arbitrary) elisions also) certainly not your typical televised event. I wonder though how it sounded on a television of the era.
"and ferret"
a midrash
most peculiar
August 30, 2020
24 Preludes (1 through 8) - Lockrem Johnson - Keith Eisenbrey [in recital "Continuity in Small Things" at University Temple United Methodist Church, February 2002]
At least the first two are played too quickly
fancy composing with
unfancy figuration
Powder Blue Mercedes Queen - Paul Revere and the Raiders [from
The Legend of Paul Revere]
Who was he imitating here? Not David Bowie nor Elton John, though both of them, at times, imitate a similar sound.
"...such words as it were vain to close..." - J. K. Randall - Keith Eisenbrey [in recital at Chapel Performance Space, Good Shepherd Center, April 2016]
I may not play it right but I play it true
the difficulty is that each strike of key(s) must be exactly weighted
and
you'll have plenty of time
or none at all
to overthink it
and you've got to be counting like a fiend to get the exact timing of
the weight of them exactly
plenty
or exactly
none at all
all one will ever really need to know about pitch-time correlation can be learned by learning to play this piece true
Do You Wanna Hold Me? - Bow Wow Wow
the 80s never nailed themselves
as nearly as Bow Wow Wow nailed them here
the top of pop
spinning off
a little collection of collected examples of thoughts (that might be) central to music taken apart by their conceptual parts
1. a perfected vexation
2. a tender gesture
3. chaos nuanced (for
Ben?) the question is about repetition
at the extreme does one recognize self?
4. startle a stare 'em down
5. alter and join altered figuration
(a list)
6. for Neal: a long polyrhythm crosses the ocean of my
attention. pulses rebound in slo mo
O Fortuna - Carl Orff - Robert Shaw Chorale, Robert Shaw [from World's Greatest Choruses]
OR: (World's Greatest): all the stuff you've heard somewhere that we've done gathered here
and yet the terror is real
Anti-Solos - Banned Rehearsal - Isaac E, John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer
our family dynamic
(the toy wouldn't work)
I don' wanna make a
tape now
stressful times
age of chaos
(must have broken a
string a banjo string)
Bad Man Mr. Punch.
It is a strange tape Mr.
Punch.
confessional banjo tunin'
as we speak up
tension in
the air
"overstrew" (word of the day)
Father and Daughter - Paul Simon [from The Essential Paul Simon]
watch you shine
goin' fishin'
with the constancy of mathematical
certainty
(number theory)
Whether The Word Be Preached or Read - Keith Eisenbrey - Keith Eisenbrey [recorded July 2015]
a parody of a hymn. so Anglicanized!
You Want Me to Live (Forever) - Broken By Clouds
you make me want to live (forever)
you want to make me live (forever)
you make me to live (forever)
voice of a distant voice
among the hypersurreal foreground chatter
August 31, 2020
Banned Telepath 53 Seattle - Karen Eisenbrey, Keith Eisenbrey, and Neal Kosály-Meyer
constancy in pushing against imperturbababble
rehearsal is banned for good reasons
inscription upon the
mnemonic membrane
is forbidden
September 1, 2020
Pavana Fvb 4 - Ferdinando Richardson - Claudio Columbo [from The Fitzwilliam Virginal Book]
points mark attention nodes
lines of points diverge
at points of
divergence
startling attention gently
Bransles de Villages - Michael Praetorius - New London Consort, Philip Pickett [from Dances from Terpsichore]
bring out the buzzies! and drones!
not far removed in effect from fiddle tunes and dance calls
Suite in D minor - Dietrich Buxtehude - Simone Stella
conceptual size relations: note, contrapuntal line, ornaments - they are sized to each other in unfamiliar ways (to our ears) in an environment where the tiniest difference of balance is vast
it doesn't look that big on the page
DB composes with a microscope
Sonata in B-flat - George Frideric Handel
off it goes! doesn't look back eyes forward light and frothy
September 2, 2020
Septieme Ordre (sol) - Francois Couperin - Kenneth Gilbert
melody catechized by counterpoints
questions split and shared
dancing on a surface that rationalizes
but also reflects the
dance
the learned discuss amongst their kind
2 or 3 play around meter sense
resolves toward 3 as meter
with 2
as color commentary
or that's how it appears on the surface
this water's deep though
Die Wohltemperierte Klavier, Band I, Prelude and Fugue in C-sharp major - Johann Sebastian Bach - Sviatoslav Richter
prelude clarifies the bewildering
fugue concerns the lengths of short
things, or the exact place at which the short things turn into other
things
movements of overlaps
September 3, 2020
identity games
between the partners
(and us)
which plays what?
(as related to our voice tracing analysis or
intuition)
(our educated) : its deeper meaning is its interaction,
play.
It expresses its play.
Sonata in B-flat Major, Wq. 49/4 - Carl Philipp Emanuel Bach - Miklos Spanyi
can't go back just yet, unfinished business. where were we now?
1. a model "sonata Allegro" format early in that formats' career, when it is
still material thinking about itself, not yet fighting its format's limits nor
wallowing in formal self satisfaction
2. doesn't let on right away that
it has started over or elsewhere or didn't
3. --
Sonata in A Major - Domenico Scarlatti - Pieter-Jan Belder
expressing the exact lengths of
(not durations of)
where we are
then turn , turn,
in measured angles.
It ought to compute.
Sonata (Partita) in D Major, Hob. XVI:14 - Franz Joseph Haydn - Christine Schornsheim
within a never look back continuity
a play of keys
key parts
what was I doing anyway sequences
an amalgamator
also:
Haydn doesn't seem to be alone in there
it's a puppet show
with multiple personae interacting
with only the presumed
singularity of puppet string puller
In Session at the Tintinabulary
September 2, 2020
Wallace Book 5 - Aaron Keyt - Keith Eisenbrey
September 3, 2020
Wallace Book 5 - Aaron Keyt - Keith Eisenbrey
September 4, 2020
Chorale 4 - Keith Eisenbrey - Keith Eisenbrey
I continue recording pieces for a virtual recital of recent music by Aaron Keyt and me. It will be a few months before I can get it all put together.
Postscripts
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