Showing posts with label Mendelssohn. Show all posts
Showing posts with label Mendelssohn. Show all posts

Saturday, July 26, 2014

Playlist

Recorded

July 21, 2014
Pete Comley - July 2014

The Sentient Insect Variations: Zoar Valley - Pete Comley and Dave Fuglewicz
 
Our progress is a descent, spelunking through a viscous gelatin, thick with signal, gas-giant deep, to the mighty thrum of the world swarm.
 
My notes from a previous listening on October 26, 2002: Wild and beautiful. Like some crazy urban jungle heard through several timewarps through several scales of magnitude at once. The sci-fi film score to kill them all. Dangerously intense - gird your loins! At last we descend into the crater: wasp-lava.
 
Ambarabusaraba - Quintetto alla Busara
 
Music for social dancing, as opposed to couples dancing. Competitive in the sense that lifts the whole rather than in the sense that comes out on top.

July 22, 2014
The New Mother: 2 Excerpts - John Rahn [from Open Space 21]
 
Piles of eels or worms coalescing into the sensibility of voice - wheels of bird flights.
 
Call It What You Will - Matthew Barber [from Milton Babbitt: a Composers' Memorial]
 
A set of artifacts for violin, piano, and electronics, remarkable for the disparate senses in which the spaces enclose the sounds. The distinctions between togetherness and alienation are completely unfinessed, or baldly composed to sound as little like parts of the same piece as possible. Fascinating.
 
Hat Island, Washington
Poiche l'avida sete (Prima parte) - Gesualdo - Consort of Musicke, Anthony Rooley
 
Layers of stagnant suspensions pull back to reveal us: mechanical.

July 23, 2014
Konzert in F, BWV 1047 - J.S. Bach - Philharmonia Orchestra, Otto Klemperer
 
Ben Boretz once opined that Klemperer's recordings of the Brandenburg Concertos made them sound like something Stravinsky might have cooked up. This one is surely the prime example. You could almost count the legato phrasings on one hand.

July 24, 2014
Sonata in B, Wq. 48 #2 - C.P.E. Bach - Bob van Asperen
 
Slightly irregular. Sudden dark turns.
 
Quartet in D, Hob. III:3 - Haydn - Tatrai Quartet
 
There are some fabulous legato hocket passages here that could have been in the back of Tchaikovsky's mind for the last movement of the Pathetique.
 
Symphony in G, K75b(110) - Mozart - Academy of Ancient Music, Chriostopher Hogwood, Jaap Schroder
 
Grabs a sonority and hangs on tight.
 
Sonata in C-sharp minor op. 27 #2, - Beethoven - Wilhelm Kempff
 
Kempff believes in the power of clarity as a core value. If the performance lacks something in visceral thrill it nevertheless brings forward a solid image of tonal function, immovable but transformable.

July 25, 2014
Symphony in C minor (#4) - Schubert - Berlin Philharmonic Orchestra, Karl Böhm
 
Long lines, multi-stage slow builds, major landmarks - this music imagines around itself an extensive world, rather than the infinitely reflexive social chamber of the court or church.
 
Symphony in E minor (String Symphony #3) - Mendelssohn - English Bach Festival Orchestra, William Boughton
 
Interesting as clockwork, but as a thing it is more like an old-fashioned concerto grosso than like a Beethoven (or even a Haydn) string quartet.
 
Valse in E-flat Op. 18 - Chopin - Alfred Cortot
 
At once a one-man-band imitation of a waltz orchestra and the evocation of being in a waltzworld: fluttery hearts and flights of romance and passion. Not a waltz, but what a waltz is.
 
Remeniscences de Don Juan  - Liszt - Charles Rosen
 
Always a good idea to start with the hell-fire since it makes a great show. What fun! Brimstone ale, cool! Party on!
 
Overture, Scherzo and Finale, Op. 52  - Schumann - Berlin Philharmonic Orchestra, Herbert von Karajan
 
Light and dark but mostly light, though it starts in a dark corner of a dark world where what counts as a door to brightness comes across as a passing shadow in the light of day.
 
In Session at the Tintinabulary
 
July 21, 2014
Gradus 247 - Neal Kosály-Meyer
 
[weight - duration] [order] (in that order). Simultaneity of order operates as a reset and an articulation point. Weight and Duration operate on local relations - The distance of their orderings matters to how much they matter.
 
Upcoming
Sunday, August 10, 2014
Skylark (Seattle) 
Your Mother Should Know
Canals of Venice
Bucktoad

 

Saturday, June 14, 2014

Playlist

Recorded
 
June 11, 2014
Symphony in F K75(75) - Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood
Schnabel
Sonata in C-sharp minor Op. 27 #2 - Beethoven - Arthur Schnabel
 
Measuring extreme distance and temporal offsets - bass / treble - stillness / frenzy
 
Trio in B-flat Major D. 471 - Schubert - Vienna Philharmonic Quartet
Symphony in E-flat Major (String Symphony #6) - Mendelssohn - English Bach Festival Orchestra, William Boughton
 
The many manners of how things come to the surface.
 
In Session at the Tintinabulary
 
June 9, 2014
Gradus 244 - Neal Kosály-Meyer
 
Among many other things, the Gradus project allows a particular and detailed mapping of the relations between tonal resources and the availability of higher-order compositional tools. In this session the number of available notes and the ratio of A-naturals to E-naturals is at the threshold of a critical mass. Suddenly interval inversion has become a major force of compositional design. It is as though the sun had just risen.
 
Upcoming
 
poster by Darick Chamberlin
Friday, June 27, 2014 - 8 PM
Banned Rehearsal Celebrates 30 Years of Noise
Chapel Performance Space, Good Shepherd Center, Seattle
 
On June 24, 1984, Keith Eisenbrey, Aaron Keyt, and Neal Meyer gathered together to make a tape, improvising on instruments we didn't know how to play. Thinking we might do this 3 or 4 times and because it seemed right to think of our project as a band - and because none of us could resist the pun - we called ourselves and the project Banned Rehearsal. Our personnel has changed somewhat over time, surviving several lengthy geographic separations, but the project has continued and as of this writing we have recorded 860 numbered sessions. For our eighth public event, we invite you to celebrate with us 30 years of noise, 30 years of exploration, 30 years of trying to figure out what we're doing, 30 years of argument in creative musical expression.
Banned Rehearsal is: Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, and Neal Kosály-Meyer.