Scritto da:Mauro Graziani @ 2007.08.31.00.01.36 — Archiviato in: Classica, Storia
No, non è un errore di stompa, ne esiste un altro.
Johann Ludwig Bach (1677-1731) era un lontano cugino di JSB ed è stato il primo Bach a trovare un impiego stabile presso una corte, avendo servito alla corte di Meiningen per 28 anni, a partire dal 1699.
Che JLB esistesse si sapeva, ma gran parte della sua musica è andata perduta. Ci sono pervenuti solo 11 mottetti, 22 cantate sacre e 2 secolari, una messa funebre, una suite orchestrale e un doppio concerto per violino, il tutto raramente eseguito.
Ora la corale Ex Tempore Gent e l’Orpheon Consort diretto da Florian Heyerick hanno inciso 10 mottetti per la Carus-Verlag (info sul CD).
Ecco un estratto del primo: Das ist meine Freude.
Qui potete ascoltare vari estratti degli altri.
Scritto da:Mauro Graziani @ 2007.08.30.01.03.40 — Archiviato in: Contemporanea
Postclassic Radio, tenuta dal compositore e musicologo Kyle Gann, fa parte del circuito Live365 e trasmette “Weirdly beautiful new music from composers who’ve left the classical world far behind.”
L’ascolto è libero beccandosi un po’ di pubblicità (raramente); a pagamento senza. Cliccate qui, poi l’icona gialla/nera
Il circuito Live365, comunque, è molto attivo nell’area della musica sperimentale. Vi segnalo anche:
free103point9 nyc - Transmission art, free jazz, noise, dub, mash-ups, avant folk, turntablism, generative sound, field recordings, and other fringe styles.
Iridian Radio - Music that’s smart, but still warm to the ears -John Adams, Kronos Quartet, Bang on a Can, Philip Glass, Laurie Anderson
Le radio gestite dall’etichetta innova.mu
innova.mu-Experimental - Radical music you won’t hear elsewhere Harry Partch, electroacoustic, experimental, computer generated, homemade instruments
innova.mu-Classical - New Classical music by today’s finest American composers: chamber, vocal, choral, orchestral
innova.mu-World - World, ethnic, international, tribal, folk, traditional Native American
innova.mu-SonicCircuits - The best selections from 10 years of the famous electronic music festival
innova.mu-Avant Jazz - Avant jazz, free Downtown improv, radical Ancient Futurism to blow your mind
Scritto da:Mauro Graziani @ 2007.08.29.00.01.39 — Archiviato in: Pittura
Salad: un’immagine di Till Nowak che omaggia Giger e Arcimboldo.
Nella realtà ha l’aspetto di un dipinto (ma è una stampa su tela passata poi con una speciale vernice, grazie Vinz per la correzione), come potete vedere qui.
In November 2006 Till Nowak created the image “Salad”. For this image he created 12 digital vegetable models in 3ds max using photographic references. They were combined to become a tribute to the fantastic biomechanical creations of H.R. Giger and the vegetable portraits of Giuseppe Arcimboldo.
Scritto da:Mauro Graziani @ 2007.08.28.03.00.08 — Archiviato in: Multimedia, Musica
Music Animation Machine realizza queste graziose animazioni che rivelano molto della struttura di un brano musicale a chi non sa leggere la notazione. Didattico.
Music Animation Machine creates this videos showing the structure of a musical piece. Very useful to people who can’t read the score.
Scritto da:Mauro Graziani @ 2007.08.27.00.01.52 — Archiviato in: Body Art
Per la categoria Storie Estreme, il blog deputydog ha pubblicato le foto dei 10 esseri umani più modificati del mondo. Non per impressionabili. Cliccate qui.
Deputy Dog posted an intriguing list of ten people who have modified their bodies in some pretty intense ways. Click here.
Scritto da:Mauro Graziani @ 2007.08.24.01.55.15 — Archiviato in: Elettroacustica
Mario Diaz de León è davvero un giovane compositore, essendo nato nel 1979 a St. Paul, Minnesota e pur componendo brani per strumentazione acustica, non rinnega il suo passato di chitarrista punk.
La cosa bella, a mio avviso, è che queste due facce non sono separate, ma una certa qualità sonora dell’una influenza l’altra e anche la struttura compositiva, che tende allo streaming più o meno differenziato, traspare sia nei pezzi accademici che in quelli elettrici.
Qui ascoltiamo/vediamo questi suoi aspetti in due video da YouTube, ma ne parleremo ancora.
Maggiori notizie e altri brani sul suo sito.
Mario Diaz de León (b. 1979 in St. Paul, MN) played guitar in punk bands from age 12 to 21. He received his B.M. in TIMARA (technology in music and related arts) from Oberlin Conservatory in 2004. While at Oberlin, his principal teachers were Gary Nelson, Tom Lopez, Randy Coleman, and Lewis Nielson.
Since 2004, Mario has lived in in New York City, where his activities include composing chamber music for instruments and electronics, collaborating with Jay King in the audiovisual duo King/Diaz de León, presenting solo performances, and performing in the psychedelic noise band Symbol. Past activities include performing with Sadjeljko on their 2005 US tour, and an appearance with Fred Frith in ensemble performances of his graphic scores. He is currently pursuing his doctorate in composition at Columbia University, where he studies with George Lewis. Mario also cites his informal association with composer and sound-installation artist Maryanne Amacher as a major influence.
Read more on his site.
I really like the way Mario mix his two apparently conflicting faces, the one as academic contemporary composer and the other as a noise guitar improviser.
2.23 (for viola and stereo sound) performed at Oberlin Conservatory in 4/03. Glenda Goodman, viola.
Scritto da:Mauro Graziani @ 2007.08.23.02.59.25 — Archiviato in: Strumentale
Un lavoro importante di Crumb sono i quattro libri del Makrokosmos (1972-1974). I primi due libri sono per pianoforte solo (amplificato), mentre il terzo (chiamato anche Music for a Summer Evening) è per due pianoforti e percussioni ed il quarto (noto anche con il titolo Celestial Mechanics) per pianoforte a quattro mani.
Il nome di questo ciclo allude ai sei libri pianistici del Microcosmos di Béla Bartók; come il lavoro di Bartók, il Makrokosmos è costituito da una serie di brevi pezzi dal carattere differenziato. Oltre a quella di Bartók, George Crumb ha riconosciuto in questo ciclo influenze di Claude Debussy, sebbene le tecniche compositive utilizzate siano molto differenti da quelle di entrambi gli autori citati. Il pianoforte viene amplificato e preparato sistemando vari oggetti sulle sue corde; in alcuni momenti il pianista deve cantare o gridare alcune parole mentre sta suonando.
Il primo libro, del 1972, ha come sottotitolo “Twelve fantasy pieces after the Zodiac” e infatti i movimenti sono ispirati ai segni zodiacali.
Qui ascoltiamo il primo movimento: Primeval Sounds (Genesis I) Cancer [G.R.]
(per il significato delle iniziali, vedi le note dell’autore, qui sotto), eseguito da Margaret Leng.
Note di programma dell’autore / Author’s program notes:
The title and format of my Makrokosmos reflect my admiration for two great 20th-century composers of piano music — Béla Bartók and Claude Debussy. I was thinking, of course, of Bartók’s Mikrokosmos and Debussy’s 24 Preludes (a second zodiacal set, Makrokosmos, Volume II, was completed in 1973, thus forming a sequence of 24 “fantasy-pieces”). However, these are purely external associations, and I suspect that the “spiritual impulse” of my music is more akin to the darker side of Chopin, and even to the child-like fantasy of early Schumann.
And then there is always the question of the “larger world” of concepts and ideas which influence the evolution of a composer’s language. While composing Makrokosmos, I was aware of certain recurrent haunting images. At times quite vivid, at times vague and almost subliminal, these images seemed to coalesce around the following several ideas (given in no logical sequence, since there is none): the “magical properties” of music; the problem of the origin of evil; the “timelessness” of time; a sense of the profound ironies of life (so beautifully expressed in the music of Mozart and Mahler); the haunting words of Pascal: “Le silence éternel des espaces infinis m’effraie” (”The eternal silence of infinite space terrifies me”); and these few lines of Rilke: “Und in den Nächten fällt die schwere Erde aus allen Sternen in die Einsamkeit. Wir alle fallen. Und doch ist Einer, welcher dieses Fallen unendlich sanft in seinen Händen hält” (”And in the nights the heavy earth is falling from all the stars down into loneliness. We are all falling. And yet there is One who holds this falling endlessly gently in his hands”).
Each of the twelve “fantasy-pieces” is associated with a different sign of the zodiac and with the initials of a person born under that sign. I had whimsically wanted to pose an “enigma” with these subscript initials; however, my perspicacious friends quickly identified the Aries of Spring-Fire as David Burge, and the Scorpio of The Phantom Gondolier as myself.
Scritto da:Mauro Graziani @ 2007.08.22.00.01.49 — Archiviato in: Strumentale
Described by The New Yorker as “a vibrantly broad-minded new-music group,” Opus 21 features works by composers from many different genres, including contemporary classical, jazz, pop, and world music, as well as those whose works fall in the hard-to-define categories in between. The ensemble was founded by composer Richard Adams and gave its debut performance at Merkin Concert Hall in New York City in Spring 2003. Opus 21 has since established itself as a truly innovative new music group, and has revamped the traditional concert-going experience by presenting side by side a diversity of art music and crossover works geared toward audiences with eclectic, wide-ranging musical tastes.
Comprised of virtuoso performers from diverse musical circles, Opus 21 is capable of performing works by composers from many different genres. Its programming has ranged from the contemporary classical works of William Bolcom, John Harbison, and Steve Reich, to the jazz compositions of Dave Brubeck and Fred Hersch; from the art rock music of Frank Zappa to a collaborative performance with legendary Motown pianist Joe Hunter.
The goal of Opus 21 is to create a collaborative venue for performers, composers, and audiences whose interests extend beyond a single type of music. Its programs seek to increase public awareness and understanding of art music in the twenty-first century, introduce the public to works it might not otherwise hear, and build bridges between audiences of different musical backgrounds. The group also maintains an open call for scores in order to be able to present the music of both established and emerging composers. In all its activities, Opus 21 is committed to the proposition that great music is without boundaries.
Opus 21 is an independent, not-for-profit performing arts organization.
Site: opus21.org
