Preface
- Benjamin Boretz - "Fourth and long in Baltimore" from "inside in . . . / . . . outside out" Open Space Publications, 2020
Texts
From Recent Arrivals
October 9, 2021
Tattered Lovers - Steve Layton, Benjamin Smith, Roger Sundström, Kävin Allenson, and Shane Cadman
keyboards
loose in the electric wild
discussing gesture
in
an evening
relaxed
way
Recorded
October 9, 2021
Banned Rehearsal 297 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [July 17, 1992]
leaping long figures digress
four four canon anon
ice buckets
John is in a cheerful mood
we play small instruments
I'm
guessing Toad Hall
standing waves
stood up straight
upstanding waves
John asks questions
on the edge of words
closeup sounds
guiro
flute
bug-guitar
singing inside
the skull
om nihi nihi wha
upstairs at Aaron's small room
Summer
windows open
ocarina duet
intense sound trio}
October 10, 2021
Office de l'Adoration de la Croix - Ensemble Organum, Marcel Pérès [from Portrait]
who was the first human to sing in a cavern?
the idea of eternity
below us
wakened by a song
Work / Architecture / Unity / And/ The (solo demo) - Keith Eisenbrey [January 12, 2002]
just the solo piano part
on the Kingsbury
in the
Tintinabulary
a long space
slow and free
with the rhythm
on the 2nd bit
makes that more of an adventure
than when just
lickety split through it
what I learned
composing is more like
discovery
than it is
about projection
of an extra-musical
concept
pushing a concept
upon a discovery
may spoil both
Line and Length - Matthew Sholomiwitz - Splinter Reeds [from Hypothetical Islands]
a flock of easily distracted trippers
in swiftly changing circumstances
observant and responsive
has a theme and variations feel to it
October 12, 2021
Banned Rehearsal 809 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [March 12, 2012]
mired in the wake
does anything go?
no.
It may be free
but it is still a
social activity
on multiple levels,
and so whatever is done
must be done
with the social activity in mind.
guide our doing
just as in any other social activity.
The space is shared.
Cognizance of one's effect upon the whole
is
the most difficult,
it is so easy to hear oneself
since one's
activity
is an echo
of that activity's immediate intent.
ideally, globalized personal intent
might be eschewed
there is some truly lovely stuff here at the end
The Man Who Made Himself a Name - Shelby Earl [from The Man Who Made Himself a Name]
celebration of a person
of several disjunct attributions
Galliarda, Variatio, and Galiarda, Fvb 46, 47, and 48 - John Bull - Claudio Columbo [from The Fitzwilliam Virginal Book]
harmonic rhythm became a thing
it's here too of course
but the rhythms it finds are freer,
have less need to balance
or propel,
they are happy to simply stop a bit
if no mood strikes them
Symphoniae Sacrae II, Op. 10 #24 "Die so ihr den Herren fürchtet"- Heinrich Schütz - Capella Augustana
compartmentalized expression
every saying gets its say
harmonic
rhythm follows
or tracks
or outlines
the rhetoric of saying
Die Wohltemporierte Klavier, Band I, Prelude and Fugue in G Major - Johann Sebastian Bach - Sviatoslav Richter
this brook just can't flow quickly enough for its water
pushing forward
ends in a quiet pond
Sonata in E Major, Kk. 136 - Domenico Scarlatti - Pieter-Jan Belder
direct short term repetition
was a technological breakthrough
Scarlatti was its unequaled champion
did Schumann pick it up from
him via Clara?
sharp turned events
exact angles
an extraordinary cabinetmaker
joins of imagination
12 Variations in E-flat Major, Hob. XVII.3 - Franz Joseph Haydn - Christine Schornsheim
on clavichord
spoke variations
the opening gesture of each phrase
can be verbatim of the original
or close to it
but the music
goes elsewheres
each time
that is
each variation is attached
to the theme
at the starts of each of the internal phrases
October 13, 2021
Don Giovanni, Act 2 - Wolfgang Amadeus Mozart - - Vienna Philharmonic, Karl Böhm, Sherrill Milnes, Walter Berry, Anna Tomowa-Sintow, Peter Schreier, Teresa Żylis-Gara, Edith Mathis, Dale Duesing, John Macurdy
flipping quickly among
complexity
simplicity
sincerity
and duplicity
sneaking around in other folks' gardens
comic/sentimental goings on
free floating punishments
in
search of a target for their revenge
increased resolve
with each
false encounter
once again Ottavio brings the action to a stop
articulation moment
interesting how this
and Cosi
are
criticized these days
on moral grounds
they being a kind of
morality play after all
both of them
we still insist upon
rectitude
ok now the show offs are done
it's time for the party
Elvira makes her last plea
puppet drama writ large
the
perfect sized tale
for an opera
down he goes in flames
like
Siegfried's corpse
life goes on
Anna and Ottavio
to lead
their oh so civilized lives
until the Terror
and subsequent
backlashes
never flagging
except for the end signal
of the first movement
and a few phrase ends
toward the start of
and counterparts
later on
in the second movement
then the big GP
to make
one's courtesy to CPEB.
Etude in F Major, Op. 10 #8 - Frédéric Chopin - Alfred Cortot [1933]
an adventure in modern melodrama
for the tenor thumb
includes side
conversations
when we weren't on stage
Ariadne auf Naxos, Prologue - Richard Strauss - Philharmonia Orchestra, Herbert von Karajan, Elisabeth Schwarzkopf Rita Streich, Irmgard Seefried, Rudolf Schock, Alfred Neugebauer, Karl Donch, Gerhard Unger, Hugues Cuenod, Erich Strauss, Otakar Kraus, Lisa Otto, Grace Hoffman, Anny Felbermayer, Hermann Prey, Gerhard Unger, Fritz Ollendorf, Helmut Krebs
conflict without drama
proto-post-modern
a stage set in lieu of
all
the music is stagnant from the beginning
anything that might
happen
flutters off into something else
that might happen
Society Blues - Kid Ory [from Allen Lowe's That Devilin' Tune]
under the soloist
the band plays chord-outlining figures
in
regular patterns
the whole thing is relaxed
lazy
a bit
overfed
Gli Uccelli - Ottorino Respighi - Philadelphia Orchestra, Eugene Ormandy
post Verdi Italy
we revisit the past picturesque
rationalized bird
song
from the civilized century
bad:
mining the past for lucre;
good:
revivifying the obscure but lovely
Darktown Strutters Ball - The Original Dixieland Jass Band [from Evans 78s]
one presumes the humor involved
the perceived pretense
of
blackface dancers
dressing up in finery
and parading around
as though actually fine
a humor that cuts both ways
clowning
finery
cuts finery
We'll Meet Again - Peggy Lee [from The Complete Recordings, 1941-1947]
so we do most earnestly hope and pray
Pick a Bale of Cotton - Lead Belly [from Where Did You Sleep Last Night, Lead Belly Legacy Volume 1]
advertising for
we can work
Long Time No See - Frank Hunter and His Black Mountain Boys [from Allen Lowe's Turn Me Loose White Man]
the verses are pulled in
from any old nursery rhyme
without
concern much
for what sense they make
with the chorus and hook
Wilson Rag - Elizabeth Cotton [from Allen Lowe's Turn Me Loose White Man]
figuration study
soft touch
on the upper strings
simple and
perfect
Train 45 - Albert Hash, Art Rosenbaum
its weight
swaying from side to side
on the curves
skillfully braked
the edge of
"that's all you are"
backhanded put-down
Cold Turkey - John Lennon and Yoko Ono [from Live Jam]
his thing is
to make the personal public
expiatory evacuation
Slip Sliding Away - Paul Simon
an industry insider's
song writer's
song writer
lays it out
straight
Clarinet Quintet - Berthold Goldschmidt - Mandelring Quartet, Ib Hausmann
| near image answers
| a gambit to get going
| chaining ploy bread
crumb formalism
| continuity's simulacrum
| but unclotted
vertically
| each statement stands alone
| some near quotations of
Shostakovich flit by
| perhaps they are both quoting the same song?
Assembly Rechoired 12 - Karen Eisenbrey, Keith Eisenbrey [January 16, 1987]
an inverted Berg VC
with bugle blow low
and kalimba
as
though there were three of us
there is no in tune
to be out of
and that Karen plays violin
bugle
to ocarina
or some other tin whistle device
where (we are) (are we) (?)
it must be dark outside
we can feel the black windows
after day
in the sound
now an oc
tin whistle
before
for certain
probably the big black softball sized oc
a lovely sound
in the Greenwood Big House
of course
on North 89th
{NB: my old half-house in the back of the Big House
no longer has a "1/2" in the house number
half-house no more
how sad}
I sing
kalimba comments
there is thumping doing
Friday may have been
{YUP!}
Karen reads from Eliot
we submerge into the lungs
with harmonica serenade
up surface-side
an intimate
domestic sedatorial
evening
to wake
protraction
of proto-slumber
kalimba cadenza
at the end of it
as the credits
roll
In Session at the Tintinabulary
October 11, 2021
Banned Telepath 76 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey
Karen and I gather in the Tintinabulary and make some sounds
Banned Telepath 76 South - Steve Kennedy
Steve sends some sounds from Outpost South, Department of the Tintinabulary
Banned Rehearsal 1036 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy
and they are here combined, with Steve's 8 minutes sloppily looped in 4 times
Postscripts
::Consult the Oracle
fruit of the soul's to sing stanza concerning
happy traits about fired with stanza
it will be a good thing to leave these sad
Reality Check::
to tell them through the middle
to see how far reaching
but the troll said (and hungrily
No comments:
Post a Comment