Musica Arte Tecnologia Storie Estreme

6

Jun

In C

Scritto da:Mauro Graziani @ 2010.06.06.22.00.18 — Archiviato in: Strumentale

In C continues to receive numerous performances every year, by professionals, students, and amateurs. It has had repeated recordings since its 1968 LP premiere, and most are still in print. It welcomes performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western. Recordings range from the Chinese Film Orchestra of Shanghai—on traditional Chinese instruments—to the Hungarian “European Music Project” group, joined by two electronica DJs manipulating The Pulse. It rouses audiences to states of ecstasy and near hysteria, all the while projecting an inner serenity that suggests Cage’s definition of music’s purpose—”to sober and quiet the mind, thus making it susceptible to divine influences.” In short, it’s not going away.
[Robert Carl]

An interesting analysis/commentary about Terry Riley’s seminal composition by Robert Carl.

Here is the execution by the Shanghai Film Orchestra

A funky peformance by Band On A Can group from NYC

In C Excerpt 2006-03-20 Los Angeles David Rosenboom conducting members of CalArts: a total of 124 musicians

A terrific (IMHO) rock orchestration

The original recording dated 1964


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24

Jan

4 notes

Scritto da:Mauro Graziani @ 2010.01.24.17.49.10 — Archiviato in: Strumentale

Tom Johnson is really a minimalist composer; in fact, he coined the term while serving as the new music critic for the Village Voice.

He works with simple forms, limited scales, and generally reduced materials, but he proceeds in a more logical way than most minimalists, often using formulas, permutations, predictable sequences and various mathematical models.

The Four Note Opera (1972) is a work written using four notes only (D, E, A, B). It is scored for 5 singers and a piano (no orchestra) and the singers play the role of singers in a way similar to Pirandello’s Six Characters In Search of an Author:

The only sure thing is that the crucial moment in the evolution of the piece was that evening very long ago when I read, with great excitement, Luigi Pirandello’s Six Characters In Search of an Author. Normally characters are not even conscious of their existence on a stage. They are completely obedient to the author, they conform totally to the world the author creates, and they have no thoughts of their own. But Pirandello’s masterpiece was different. His characters knew they existed in a theatrical space, and only for a couple of hours. They were aware of the audience, and of the author as well. It was not the kind of theatre that asks you to believe something that is not true. It was the kind of theatre that you have to believe, because everything is true.

Pirandello’s vision had a strong impact on me, and for years one question lingered in the back of my mind: what would happen if, instead of Six Characters in Search of an Author, there happened to be some opera characters looking for a composer? It happened that some opera characters were looking for a composer, and about 10 years after reading Pirandello they found me and came to life in The Four Note Opera.
[Tom Johnson]

Here are some excerpts in french and italian:


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17

Sep

Different Trains

Scritto da:Mauro Graziani @ 2007.09.17.00.01.06 — Archiviato in: Elettroacustica, Strumentale

Sempre dagli archivi della Fondazione Pulitzer, Different Trains di Steve Reich (anche se a me non piace più di tanto).

Program Notes

Different Trains, released in 1989, captures Reich harnessing a return to using speech patterns in his work, as in ‘Rain,’ with a spare though startling string accompaniment in the form of the Kronos Quartet.
The ‘Different Trains’ theme originates from Reich’s childhood, several wartime years spent travelling with his governess between his estranged parents, his mother in Los Angeles and his father in New York. Exciting, romantic trips, full of adventure for the young Reich but many years later, it dawned on him that, had he been in Germany during the ethnic cleansing by the Nazis, his Jewish background would have ensured that the trains he would have been riding on would have been very ‘different trains.’
He set about collecting recordings to effectively recreate and document the atmosphere of his travels to contrast with those of the unfortunate refugees. By combining the sound of train whistles, pistons and the scream of brakes with extracts of speech by porter Lawrence Davis, who took the same rides as Reich between the big apple and Los Angeles, governess Virginia and three holocaust survivors (Paul, Rachel and Rachella), Reich creates music of great intensity and feeling.
The rhythmic patterns and pitch of the voices establishes the phrases and course of the music heard in the quartet: ‘crack train from New York,’ and ‘1939′ for example, heard in the invigorating, steam-driven opening movement, America-Before The War. The slow, middle section, Europe-During The War, finds the refugees in the midst of their nightmare, ‘no more school’ and being herded into the cattle wagons. ‘They shaved us, They tatooed a number on our arm, Flames going up to the sky- it was smoking.’ Sirens from the Kronos help to convey the despair and confusion of the Jewish plight. Reconciliation is achieved in part three, After The War, where Paul, Rachel and Rachella are transported to live in America.
There is an incredibly poignant moment when Paul proclaims ‘… the war was over,’ Rachella, in sheer, fragile disbelief, asks ‘Are you sure?.’ The New York Times hailed Different Trains as ‘a work of… astonishing originality’ and the piece was subsequently awarded a Grammy in1989 for Best Contemporary Compostion.

Steve Reich - Different Trains - members of the Saint Louis Symphony Orchestra


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15

Jun

Polina Voronova

Scritto da:Mauro Graziani @ 2007.06.15.00.01.11 — Archiviato in: Confine, Elettroacustica

voronova
Russian sound artist Polina Voronova creates shimmering tapestries that walk the fine line between pretty and mystical. Minimal and drone oriented, her compositions are often delicate and full are bell-like tones; a city of chimes and tuning forks.
The album is free available from the Excentrica netlabel in 320kbps MP3.

Listen to all album in streaming audio or download zip from here.


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13

Feb

Philip Glass su YouTube

Scritto da:Mauro Graziani @ 2007.02.13.00.01.20 — Archiviato in: Strumentale

glass
Per gli amanti di Philip Glass ecco una (piccola) parte di Einstein on the Beach (1976), secondo me il punto più alto della sua carriera, eseguita dal vivo dallo stesso Glass e dal suo ensemble.

Philip Glass live on YouTube playing Train/Spaceship from Einstein on the Beach (1976)

Train/Spaceship, part 1 & 2


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4

Feb

Piano phase

Scritto da:Mauro Graziani @ 2007.02.04.00.01.44 — Archiviato in: Strumentale

Io non sono un fan della musica minimale, però questo Piano phase di Steve Reich del 1967 è importante e coinvolgente. Si tratta del primo brano totalmente strumentale in cui Reich utilizza la tecnica del phasing, fino ad allora usata solo in elettronica.
Il phasing può essere descritto semplicemente come il suonare due frasi identiche con leggere differenze metronomiche (l’una appena più veloce dell’altra). Di conseguenza le due frasi dapprima suonano all’unisono. Poi, quando la differenza è ancora molto piccola, si ha una strana percezione, come se le note si allungassero o avessero un riverbero. In seguito la differenza diventa chiaramente percepibile: la melodia si sdoppia anche come numero di note (2 note nel tempo di una). Infine la melodia ritorna in fase, ma mentre un pianista suona la prima nota, l’altro suona la seconda: abbiamo così dei bicordi al posto dell’unisono iniziale.
In questo brano il processo continua attraverso vari stadi di fase e controfase, fino a quando i due pianisti sono sfasati al punto in cui la prima nota dell’uno si sovrappone all’ultima dell’altro. Così una frasetta di 12 note genera un brano di circa 20 minuti.
Fino ad oggi, il brano era per due pianoforti e due pianisti in primo luogo perché le note sono le stesse e in secondo luogo perché, pur essendo la frase molto facile, sembrava impossibile che una persona sola potesse suonarla a due velocità di poco diverse. Invece in questa esecuzione dell’ottobre 2006, il russo Peter Aidu fa tutto da solo, creando i due flussi sonori con le due mani su due pianoforti (e candidandosi per il premio schizo - scherzi a parte, quello che fa è neurologicamte pazzesco, anche perché, mentre i due pianisti usano entrambi la destra, lui non può).

Steve Reich - Piano phase (1967) - Peter Aidu, 2 pianos
Da qui potete anche scaricarla sia in mp3 che in formato ape.


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11

Nov

Reich again

Scritto da:Mauro Graziani @ 2006.11.11.00.01.42 — Archiviato in: Strumentale

Molte composizioni di Reich eseguite dal vivo, con breve presentazione, sul sito del Whitney Museum.


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20

Oct

More Reich

Scritto da:Mauro Graziani @ 2006.10.20.02.26.32 — Archiviato in: Strumentale

Il sito su Steve Reich messo in piedi da Carnegie Hall finalmente si avvicina a come dovrebbe apparire, almeno secondo me, un sito di un compositore importante.
Ascolti non più così limitati (anche se ancora brevi), qualche pagina delle partiture (poche), interventi registrati dello stesso Reich, un simpatico demo interattivo sulla sua tecnica composiva, vari articoli. Un utilizzo di internet un po’ più avanzato dell’usuale.
Un buon lavoro nella giusta direzione. Visitatelo.


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5

Oct

Steve Reich 70

Scritto da:Mauro Graziani @ 2006.10.05.17.13.43 — Archiviato in: Strumentale

Steve Reich
Negli USA ci sono grandi festeggiamenti per i 70 anni di Steve Reich (3 ottobre), tanto che il suo editore (Boosey & Hawkes) ha appositamente creato una pagina sul proprio sito.
Festeggiamenti ben giustificati se consideriamo che, a differenza di altri minimalisti che non hanno saputo sviluppare la propria musica diventando via via più banali, Reich, pur rimanendo sempre coerente al proprio stile compositivo, è stato in grado di evolversi e produrre sempre brani di livello dignitoso e a tratti anche molto belli. Effettivamente, fra i minimalisti è uno dei più raffinati.
Dai pezzi di Reich, Boosey & Hawkes ha tratto anche delle suonerie da cellulare. Data la loro ripetitività, funzionano quasi meglio di quelle ricavate dai brani di classica della serie booseytunes. Le trovate qui. Sono in vendita a 1.5 sterline [i soliti € 2 (figli di cani!)].
Saltando a piè pari gli esempi audio miseria (max 1 minuto) disponibili sul sito del suo editore, ecco un intero movimento di Music for 18 Musicians (1974-76) e un video, tratti dal sito personale di Reich.


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