Playlist

Preface

"Some are explaining that each one is doing the thing each one is doing because they are needing to

be doing that thing, because they are needing to be wanting to be doing that thing, because doing that thing is a thing that is feeding them, because doing that thing is a thing that they are needing to be doing so that they can be ones doing something that they are ones needing to be wanting to be doing, because doing that thing is a thing that is something any one will be doing who is one needing to be one doing some things that this one is needing to be doing, because doing that thing is a thing in some way satisfying that one as being the one being that one." Gertrude Stein - The Making of Americans

Texts

Live

November 3, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Calvin Senter - Colloquies: Moon, Rain, Sun, Wind - for solo guitar

gently persists in not resolving easy

long long thoughts (yep, Longfellow)

solid quiet presence

admirable patience

Mark Wilson - Kyrie eleison from "God Helmet" - for guitar, soprano, and flute

What glorious close heterophony between soprano and flute! It fairly made the melodic elements leap and kiss above our heads.

Clement Reid - Realizations for Horn and Piano

A richly produced illustrated narrative, of the sort whose pages linger in memory.

Nicole Truesdell - Ghost Story - for piano four hands

How does one signal story telling, musically? Or, how does music signal that it is telling story? This then that sequencing to be sure, but with four hands to play with Nicole also gets plenty of this and also that in play, lapping o'er.

Recorded

October 29, 2017
Banned Rehearsal 431 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

one channel aimed in of doors

one channel aimed out of doors

middle passage

industrious at noise making

wrecked and wicked piano sound

in late night dreamy bill evans mode

duet cornet

conjoined banjo

roar from we know not where

subordinate clauses

Banned Rehearsal 619 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [October 2001]

homing in on room for quiet in the large
for explicit thoughts in transparent company
what can be done if considerations of performance just don't come up
such considerations not eschewed
more as if never known
music innocent of outside apprehension as such
rattling in so many ways
so many ways of rattling

In Session at the Tintinabulary

October 30, 2017
Gradus 324 - Neal Kosály-Meyer

not wandering | not circulating | not but contracting | into falling | into inward collapsing

□▄□

suspended spool | waking extend | thought into forward | space alert spreading | out exhibiting delve | back into

Playlist

Live

September 5, 2013
Seattle Composers Salon
Chapel Performance Space, Good Shepherd Center, Seattle


Swale - Bickleton, Washington, 1986

Two Pieces for Guitar Orchestra - Mark Wilson

There is an affinity of effect between these intricate multi-stringed chamber compositions and the polyphonic vocal music from the centuries after Machaut, evident both in the play of color among (here) the varied strings and (there) the varied voices, and in the active movement of voices along a horizontal plane in space.

Giver - Peter Freeman

It is wonderful to hear such an ambitious and carefully heard work from such a young composer. It might be a bit too long, or it might simply need some more craftily applied pedal here and there to finesse the colors, but these are quibbles. I look forward to hearing more!

Song - Cole Bratcher

There is mortal danger in the siren's song. It is not just in myth - it also presents a compositional problem: once in it is heroically difficult to transgress. Just ask Tannhauser.

Solo Clarinet - Angelique Poteat

Another solid, challenging piece. Seattle is a veritable hotbed for creative clarinetists, and the Chapel loves that sound. I don't have much to say other than that I was digging it all the way. More!

Introduction to Nature (of) Sound - S. Eric Scribner

Good. Bad. Nature good. Machines bad. Nature sounds good. Machine sounds bad. Recording and playing back nature sounds on machines ? Turning nature sound into machine's sound ? Engaging with nature changes nature - good or bad ? Neither ? or both ? because inescapable ? A music of quietly seething disquiet.

Recorded

September 2, 2013
Bann 2 - Aaron Keyt, August 1985

circling closely in

near choate meta-axis

timing the same stone

Livin - Keith Eisenbrey, August 1985



Fence Post - Bickleton, Washington, 1986

September 3, 2013
Banned Telepath 4 I-5 - Neal Meyer, August 1985

Vibration roar Neal mouths low flange

 

recording on cruddy equipment on quality media the media holds the complex crudeness pristinely

 

the car's inhabitant's voice bumps back and fro in the mix

 

bobbing in vaguely agitated underpier backwater

 

Entering Pierce County Be A Good Citizen

 

City of Tacoma Traffic Information Radio WNAN 648

 

Entering Tacoma

September 4, 2013
Banned Telepath 4 Bickleton - Anna K, August 1985

This may be the first appearance of Karen's drums on a BR tape. Anna, in seclusion, converses with the future.

In Session at the Tintinabulary
September 2, 2013
Banned Rehearsal 843 - Karen Eisenbrey, Keith Eisenbrey, Neal Meyer

Probably our last porch session of the summer. Also, our first to be recorded on new equipment - a Zoom R24. Over the years we have recorded on a Sanyo cassette tape (still works), a Sony Professional Walkman (now bricked), a Sony DAT (still works), a Fostex MR8 (still works), and occasionally directly to laptop (still works). Microphones used have been: two Sony dynamic (still work), two Realistik PZM (we may still have one working), occasionally a small Sony stereo condenser (lost one channel), and most recently an Audio Technica stereo condenser.