Google Groups no longer supports new Usenet posts or subscriptions. Historical content remains viewable.
Dismiss
WAYLTL - 21st century music
667 views
Skip to first unread message
Todd M. McComb
Jan 23, 2024, 4:32:23 PM1/23/24
to
Since I often add contemporary music to the regular WAYLTL threads,
and I'm not sure how well it fits with many entries there, I thought
that maybe I'd break it out into a different thread....
Maybe there's some further continuity that can thus develop with
time....
Maybe others will even have some 21st century listening to report....
Most recently in WAYLTL January, I noted albums devoted to new works
by Frey & Wolff:
https://collectionqb.bandcamp.com/album/j-rg-frey-string-quartet-no-4
https://idischidiangelica.bandcamp.com/album/sveglia
Less known is Jean Derome of Quebec, but I enjoyed his new album
today... reminds me of Wolff, perhaps:
https://jeanderome.bandcamp.com/album/la-chaleur-de-la-pens-e
Regarding other sources for this music, at least the Derome & Frey
are on Qobuz, so probably other streaming options.... Not yet for
the Wolff, from what I've found....
and I'm not sure how well it fits with many entries there, I thought
that maybe I'd break it out into a different thread....
Maybe there's some further continuity that can thus develop with
time....
Maybe others will even have some 21st century listening to report....
Most recently in WAYLTL January, I noted albums devoted to new works
by Frey & Wolff:
https://collectionqb.bandcamp.com/album/j-rg-frey-string-quartet-no-4
https://idischidiangelica.bandcamp.com/album/sveglia
Less known is Jean Derome of Quebec, but I enjoyed his new album
today... reminds me of Wolff, perhaps:
https://jeanderome.bandcamp.com/album/la-chaleur-de-la-pens-e
Regarding other sources for this music, at least the Derome & Frey
are on Qobuz, so probably other streaming options.... Not yet for
the Wolff, from what I've found....
Message has been deleted
Todd M. McComb
Jan 23, 2024, 11:29:05 PM1/23/24
to
Another "piece" that I've been listening to lately -- listening
through... -- is the gigantic _Even to this day..._ by Southern
California multi-wind player Vinny Golia.
Two movements of this work have been released so far:
https://vinnygoliamusic.bandcamp.com/album/even-to-this-day-movement-one-inoculations-music-for-orchestra-and-soloists
https://vinnygoliamusic.bandcamp.com/album/even-to-this-day-music-for-orchestra-and-soloists-movement-two-syncretism-for-the-draw
Each is over 11 hours, so we're not talking about an ordinary
listening experience. I'm not really sure what's intended.... And
while I'm sure notation is involved for many sections, that may
only be in background to the "real release" in sound. Golia is,
after all, a jazz & improvised music player.
Golia (b.1946) is also a very skilled player on many wind instruments
himself, and that degree of control & precision is generally
maintained in this sprawling work. Technique is very good, including
in the more classical sections.
And there're a variety of genre invocations... some classical, jazz,
improvisation, even some rock....
So I don't know what the point of wrapping all this together into
one work really is, but it's quite a survey of contemporary
music-making. It's almost like an oratorio, except the singing
isn't especially frequent... but far bigger than most anyone puts
out. More like an encyclopedia. (As if a Mahler symphony fits in
the corner....)
There is supposed to be a third movement.
through... -- is the gigantic _Even to this day..._ by Southern
California multi-wind player Vinny Golia.
Two movements of this work have been released so far:
https://vinnygoliamusic.bandcamp.com/album/even-to-this-day-movement-one-inoculations-music-for-orchestra-and-soloists
https://vinnygoliamusic.bandcamp.com/album/even-to-this-day-music-for-orchestra-and-soloists-movement-two-syncretism-for-the-draw
Each is over 11 hours, so we're not talking about an ordinary
listening experience. I'm not really sure what's intended.... And
while I'm sure notation is involved for many sections, that may
only be in background to the "real release" in sound. Golia is,
after all, a jazz & improvised music player.
Golia (b.1946) is also a very skilled player on many wind instruments
himself, and that degree of control & precision is generally
maintained in this sprawling work. Technique is very good, including
in the more classical sections.
And there're a variety of genre invocations... some classical, jazz,
improvisation, even some rock....
So I don't know what the point of wrapping all this together into
one work really is, but it's quite a survey of contemporary
music-making. It's almost like an oratorio, except the singing
isn't especially frequent... but far bigger than most anyone puts
out. More like an encyclopedia. (As if a Mahler symphony fits in
the corner....)
There is supposed to be a third movement.
Mandryka
Jan 24, 2024, 12:40:04 AM1/24/24
to
https://soundcloud.com/james-clarke-01
Chris J.
Jan 24, 2024, 5:55:59 AM1/24/24
to
On 23 Jan 2024 Todd M. McComb wrote:
> Maybe others will even have some 21st century listening to report....
21st century music? Saint Saëns, Bruch, Dvorák, Fauré, Janácek, Elgar,
> Maybe others will even have some 21st century listening to report....
Puccini, Mahler, R. Strauss, Debussy, Nielsen, Sibelius...
Some great stuff there.
Chris
cheregi
Jan 24, 2024, 10:27:00 PM1/24/24
to
On Wednesday, January 24, 2024 at 1:40:04 PM UTC+8, Mandryka wrote:
> James Clarke's string quartets - he's got a "new complexity" vibe and I like it - Arditti playing.
>
> https://soundcloud.com/james-clarke-01
Quartet No.6 on this page held my attention for its entire duration, I especially liked the TV-static horror-movie type of scraping - the way that texture was used, its appearance and disappearance. I guess this is sort of an obvious thing to say and could be said probably about most 21st-century string quartets, but this feels like taking ideas developed as experiment in the last century, and making use of them as compositional/expressive language - in service of other goals.
> James Clarke's string quartets - he's got a "new complexity" vibe and I like it - Arditti playing.
>
> https://soundcloud.com/james-clarke-01
As far as 'affect', is it fair to say most 21st-century 'art music' emphasizes either extreme repose or extreme agitation?
On Wednesday, January 24, 2024 at 12:29:05 PM UTC+8, Todd M. McComb wrote:
> Another "piece" that I've been listening to lately -- listening
> through... -- is the gigantic _Even to this day..._ by Southern
> California multi-wind player Vinny Golia.
>
Todd M. McComb
Jan 24, 2024, 10:40:33 PM1/24/24
to
In article <2535752b-0ebb-4c73...@googlegroups.com>,
notice.
>Do you put this on in the background for a whole day??
I try to focus & listen, so I've made it through about 5 hours at
once in one sitting.... Mostly an hour or two at a time. I pause
it when I need to do something else, and come back later. This is
taking me a couple of weeks -- and partly because releases were
slow in general the first half of the month.... I wouldn't always
have the time.
cheregi <elir...@gmail.com> wrote:
>As far as 'affect', is it fair to say most 21st-century 'art music'
>emphasizes either extreme repose or extreme agitation?
I don't think so, but those are probably the easiest things to
>As far as 'affect', is it fair to say most 21st-century 'art music'
>emphasizes either extreme repose or extreme agitation?
notice.
>Do you put this on in the background for a whole day??
once in one sitting.... Mostly an hour or two at a time. I pause
it when I need to do something else, and come back later. This is
taking me a couple of weeks -- and partly because releases were
slow in general the first half of the month.... I wouldn't always
have the time.
Todd M. McComb
Jan 26, 2024, 6:16:33 PM1/26/24
to
"With her extraordinary debut album, Prelude, young Slovenian pianist
Rebeka Rusjan Zajc (now residing in Amsterdam), announces herself
as a precocious new talent, already forging her own distinctive art
language, navigating the bountiful margins between non-idiomatic
improvisation, jazz and classical music."
https://cleanfeedrecords.bandcamp.com/album/prelude
"Across this disc's sole extended piece, _Illusion_, she marshals
a dynamic carnival of boundless extemporisation, full of instinctive
runs and dramatically tumbling rubato, vivid constellations initiated
in the imagination hyperdrive of her striking real-time composition.
Passages of impish scherzo conjure fantastical images of surreal
painted bestiaries, while converging notes rush like snaking rapids
across the clashing rocks of atonalism. Evocative and oozing energy,
this beguiling music clamours for allegory, voraciously fuelling
fictional chimeras on its virtuosic feasts."
Some of this reminds me of slow movements from Sorabji... it's that
kind of orchestral solo piano, perfumed garden....
Rebeka Rusjan Zajc (now residing in Amsterdam), announces herself
as a precocious new talent, already forging her own distinctive art
language, navigating the bountiful margins between non-idiomatic
improvisation, jazz and classical music."
https://cleanfeedrecords.bandcamp.com/album/prelude
"Across this disc's sole extended piece, _Illusion_, she marshals
a dynamic carnival of boundless extemporisation, full of instinctive
runs and dramatically tumbling rubato, vivid constellations initiated
in the imagination hyperdrive of her striking real-time composition.
Passages of impish scherzo conjure fantastical images of surreal
painted bestiaries, while converging notes rush like snaking rapids
across the clashing rocks of atonalism. Evocative and oozing energy,
this beguiling music clamours for allegory, voraciously fuelling
fictional chimeras on its virtuosic feasts."
Some of this reminds me of slow movements from Sorabji... it's that
kind of orchestral solo piano, perfumed garden....
Oscar
Jan 26, 2024, 10:59:01 PM1/26/24
to
McComb: I enjoy yr 21st C. posts and occasionally fire up the Bandcamp and listen to them. Proceed. As you were . . .
cheregi
Jan 27, 2024, 4:41:34 AM1/27/24
to
Feels to me like the 'writing'(?) is not quite as 'deep' as Sorabji, but on the other hand there's a degree of nuance in timing/rhythm which I haven't heard in any Sorabji recordings. Of course it's its own thing and there's no reason at all to compare - other than how rare it is for this comparison even to feel possible...
Andrew Clarke
Jan 27, 2024, 7:33:42 AM1/27/24
to
On Wednesday, January 24, 2024 at 8:32:23 AM UTC+11, Todd M. McComb wrote:
> Since I often add contemporary music to the regular WAYLTL threads,
> and I'm not sure how well it fits with many entries there, I thought
> that maybe I'd break it out into a different thread....
Joerg Widmann. Viola Concerto (2015). Antoine Tamestit, members of the Berlin Philharmonic Orchestra, Daniel Harding. A recent live performance can be seen on the Digital Concert Hall.
> Since I often add contemporary music to the regular WAYLTL threads,
> and I'm not sure how well it fits with many entries there, I thought
> that maybe I'd break it out into a different thread....
Andrew Clarke
Canberra
Todd M. McComb
Jan 27, 2024, 5:06:27 PM1/27/24
to
In article <80fdff0a-9c5f-464a...@googlegroups.com>,
Oscar <oscaredwar...@gmail.com> wrote:
>I enjoy yr 21st C. posts and occasionally fire up the Bandcamp
>and listen to them. Proceed. As you were . . .
Thanks for the remarks.
>I enjoy yr 21st C. posts and occasionally fire up the Bandcamp
>and listen to them. Proceed. As you were . . .
Todd M. McComb
Jan 27, 2024, 5:41:50 PM1/27/24
to
In article <940b2e97-6567-4036...@googlegroups.com>,
I enjoyed it.
There seems to be a new generation of improvising pianists emerging
in Europe, playing a wide variety of personal styles -- not necessarily
jazz-based at all. I'm not sure how the personnel overlaps or not
with e.g. the classical piano contests beloved of some posters here,
but I imagine that young musicians are choosing between these
scenes....
I enjoyed it.
There seems to be a new generation of improvising pianists emerging
in Europe, playing a wide variety of personal styles -- not necessarily
jazz-based at all. I'm not sure how the personnel overlaps or not
with e.g. the classical piano contests beloved of some posters here,
but I imagine that young musicians are choosing between these
scenes....
Todd M. McComb
Jan 29, 2024, 2:31:32 PM1/29/24
to
A sort of niche label I've been following for a little while now
is Bastille Musique, mostly WDR & related performers.... Actually,
I first learned of this label here on RMCR, with their Berio set
released in 2019....
Most recent set is devoted to Hugues Dufourt (b.1943), another
French spectral composer. (I believe the previous release I noted
here was that for Grisey. In both cases, most of the material has
already appeared on record, but these sets have ample notes & a
quality approach across a broader program.) And what "spectral"
basically means is that the music uses the overtone spectrum, i.e.
pure ratios.
https://bastillemusique.bandcamp.com/album/hugues-dufourt-surgir
As with Grisey, Dufourt also uses the piano heavily, such that these
pure spectra are wedded to chromatic scales. As noted, I'm kind
of ready to move past the piano.... And the Dufourt collection
goes on to include pieces based on electric guitars as well... with
no piano, sort of shimmering waves. These pieces are less like
"classical music" but more intriguing to me. The "classical" pieces
are appealing enough too.
is Bastille Musique, mostly WDR & related performers.... Actually,
I first learned of this label here on RMCR, with their Berio set
released in 2019....
Most recent set is devoted to Hugues Dufourt (b.1943), another
French spectral composer. (I believe the previous release I noted
here was that for Grisey. In both cases, most of the material has
already appeared on record, but these sets have ample notes & a
quality approach across a broader program.) And what "spectral"
basically means is that the music uses the overtone spectrum, i.e.
pure ratios.
https://bastillemusique.bandcamp.com/album/hugues-dufourt-surgir
As with Grisey, Dufourt also uses the piano heavily, such that these
pure spectra are wedded to chromatic scales. As noted, I'm kind
of ready to move past the piano.... And the Dufourt collection
goes on to include pieces based on electric guitars as well... with
no piano, sort of shimmering waves. These pieces are less like
"classical music" but more intriguing to me. The "classical" pieces
are appealing enough too.
Mandryka
Jan 29, 2024, 5:14:03 PM1/29/24
to
Todd M. McComb
Jan 29, 2024, 5:34:24 PM1/29/24
to
In article <788d62e0-e8a1-4843...@googlegroups.com>,
to String Quartets Nos. 1 & 4-6 from that page, although the other
pieces are probably worth hearing too....) While addressing a
variety of contemporary musical materials (incl. e.g. Scelsi in
#5), these also have a real "string quartet" feel as chamber music
that some other current music in the format doesn't necessarily
seem to have.... The pitch-bending effects opening #6 (which I
heard last...) are also striking....
Considering how sophisticated his writing is, it sure doesn't seem
as though Clarke (b.1957, London) has much presence online. E.g.
his own web site has lapsed.
Mandryka <howie....@gmail.com> wrote:
>James Clarke's string quartets - he's got a "new complexity" vibe
>and I like it - Arditti playing.
>https://soundcloud.com/james-clarke-01
Listening today, I agree these are worth hearing. (I listened only
>James Clarke's string quartets - he's got a "new complexity" vibe
>and I like it - Arditti playing.
>https://soundcloud.com/james-clarke-01
to String Quartets Nos. 1 & 4-6 from that page, although the other
pieces are probably worth hearing too....) While addressing a
variety of contemporary musical materials (incl. e.g. Scelsi in
#5), these also have a real "string quartet" feel as chamber music
that some other current music in the format doesn't necessarily
seem to have.... The pitch-bending effects opening #6 (which I
heard last...) are also striking....
Considering how sophisticated his writing is, it sure doesn't seem
as though Clarke (b.1957, London) has much presence online. E.g.
his own web site has lapsed.
cheregi
Feb 1, 2024, 10:37:29 PM2/1/24
to
Partially inspired by this thread, I've re-started delving into François Bayle's late works, those made at his private studio since leaving GRM in 1996. The two most important multi-sectional works are probably "La forme du temps est un cercle" ( https://francois-bayle.bandcamp.com/album/la-forme-du-temps-est-un-cercle ) and "La forme de l'esprit est un papillon" ( https://francois-bayle.bandcamp.com/album/la-forme-de-lesprit-est-un-papillon ). The sound palette at first still seems to have that midcentury-electronic kitschiness, but the attention to detail here as well as structure I find extremely engaging, and I continue to be really attracted to the philosophy of working totally and 'directly' with 'sound itself'. In 1999 Bayle wrote a piece dedicated to Grisey, which I guess connects Bayle and the GRM world a bit more strongly than I had thought to other contemporary currents.
Mandryka
Feb 2, 2024, 1:38:00 AM2/2/24
to
The L'origine du monde is somehow inspired by the Courbet I think - I've got a book of Dufourt's writings and I'll check what he has to say about it later.
Mandryka
Feb 2, 2024, 5:54:25 PM2/2/24
to
https://rogerreynolds.bandcamp.com/album/for-a-reason
I'd love to see what the score of this looks like.
Roger Reynolds's website could be interesting
https://www.rogerreynolds.com/works/program_notes_brief.html
Todd M. McComb
Feb 2, 2024, 6:45:21 PM2/2/24
to
In article <4f99880b-ef87-435a...@googlegroups.com>,
this afternoon. Enjoyable piece... another to emphasize movement
& space (pace the most recent post else-thread...), generally
maintains (but not 100% of the time) a light texture for the orchestra
& the feel of improvisation.... But sentimental by the end.
Andrew Clarke <andrewc...@gmail.com> wrote:
>Joerg Widmann. Viola Concerto (2015). Antoine Tamestit, members
>of the Berlin Philharmonic Orchestra, Daniel Harding. A recent
>live performance can be seen on the Digital Concert Hall.
I finally had a listen to the Harmonia mundi recording (from 2018)
>Joerg Widmann. Viola Concerto (2015). Antoine Tamestit, members
>of the Berlin Philharmonic Orchestra, Daniel Harding. A recent
>live performance can be seen on the Digital Concert Hall.
this afternoon. Enjoyable piece... another to emphasize movement
& space (pace the most recent post else-thread...), generally
maintains (but not 100% of the time) a light texture for the orchestra
& the feel of improvisation.... But sentimental by the end.
Andrew Clarke
Feb 4, 2024, 9:51:21 PM2/4/24
to
Andrew Clarke
Canberra
Todd M. McComb
Feb 5, 2024, 10:21:46 PM2/5/24
to
In article <b9849247-c2f1-4607...@googlegroups.com>,
registered with me before as a composer, but I found _La forme du
temps est un cercle_ to be engaging in multi-faceted ways, and
intend to hear _La forme de l'esprit est un papillon_ soon.
(This is also music straddling 20th/21st centuries, if that matters.)
Clearly I should've paid more attention at some point, but I confess
to being put off by purely electronic music until relatively recently,
and then basically forcing myself to listen. But I've become more
receptive. It's still strange to me to think of fiddling with
command lines & dials as "working directly with sound itself"
though.... (I think of it more as working directly with wires &
plastic.)
cheregi <elir...@gmail.com> wrote:
>Partially inspired by this thread, I've re-started delving into
>François Bayle's late works, those made at his private studio since
>leaving GRM in 1996. The two most important multi-sectional works
>are probably "La forme du temps est un cercle" (
>https://francois-bayle.bandcamp.com/album/la-forme-du-temps-est-un-cercle
>) and "La forme de l'esprit est un papillon" (
>https://francois-bayle.bandcamp.com/album/la-forme-de-lesprit-est-un-papillon
>). The sound palette at first still seems to have that
>midcentury-electronic kitschiness, but the attention to detail
>here as well as structure I find extremely engaging, and I continue
>to be really attracted to the philosophy of working totally and
>'directly' with 'sound itself'.
I'm finally getting to these. I don't think Bayle had really
>Partially inspired by this thread, I've re-started delving into
>François Bayle's late works, those made at his private studio since
>leaving GRM in 1996. The two most important multi-sectional works
>are probably "La forme du temps est un cercle" (
>https://francois-bayle.bandcamp.com/album/la-forme-du-temps-est-un-cercle
>) and "La forme de l'esprit est un papillon" (
>https://francois-bayle.bandcamp.com/album/la-forme-de-lesprit-est-un-papillon
>). The sound palette at first still seems to have that
>midcentury-electronic kitschiness, but the attention to detail
>here as well as structure I find extremely engaging, and I continue
>to be really attracted to the philosophy of working totally and
>'directly' with 'sound itself'.
registered with me before as a composer, but I found _La forme du
temps est un cercle_ to be engaging in multi-faceted ways, and
intend to hear _La forme de l'esprit est un papillon_ soon.
(This is also music straddling 20th/21st centuries, if that matters.)
Clearly I should've paid more attention at some point, but I confess
to being put off by purely electronic music until relatively recently,
and then basically forcing myself to listen. But I've become more
receptive. It's still strange to me to think of fiddling with
command lines & dials as "working directly with sound itself"
though.... (I think of it more as working directly with wires &
plastic.)
cheregi
Feb 8, 2024, 1:51:20 AM2/8/24
to
On Tuesday, February 6, 2024 at 11:21:46 AM UTC+8, Todd M. McComb wrote:
> I'm finally getting to these. I don't think Bayle had really
> registered with me before as a composer, but I found _La forme du
> temps est un cercle_ to be engaging in multi-faceted ways, and
> intend to hear _La forme de l'esprit est un papillon_ soon.
>
> (This is also music straddling 20th/21st centuries, if that matters.)
>
> Clearly I should've paid more attention at some point, but I confess
> to being put off by purely electronic music until relatively recently,
> and then basically forcing myself to listen. But I've become more
> receptive. It's still strange to me to think of fiddling with
> command lines & dials as "working directly with sound itself"
> though.... (I think of it more as working directly with wires &
> plastic.)
Glad to hear it!
> I'm finally getting to these. I don't think Bayle had really
> registered with me before as a composer, but I found _La forme du
> temps est un cercle_ to be engaging in multi-faceted ways, and
> intend to hear _La forme de l'esprit est un papillon_ soon.
>
> (This is also music straddling 20th/21st centuries, if that matters.)
>
> Clearly I should've paid more attention at some point, but I confess
> to being put off by purely electronic music until relatively recently,
> and then basically forcing myself to listen. But I've become more
> receptive. It's still strange to me to think of fiddling with
> command lines & dials as "working directly with sound itself"
> though.... (I think of it more as working directly with wires &
> plastic.)
It's funny, I was pretty much put off by non-electronic music (or I guess more accurately, any music purporting to be 'a recording of a performance', as opposed to clearly being assembled from disparate bits of audio) up until a few years ago, and similarly had to force myself to listen to any of the classical or traditional music that now takes up most of my attention. Initially out of an interest in context and history...
Even now, what seems intuitive to me is either treating 'the track' entirely as a canvas for editing, manipulating, and recombining sound, per Bayle et al, OR treating 'the track' as: pressing 'record', and capturing one-take live audio from a performer. Anything in between, like a pop song with the impression of being 'a performance' but undoubtedly assembled from many sources, tends to seem arbitrary or disingenuous, even manipulative, at least initially. It's taken me a long time to accept classical solo piano recordings, for example, as a performer kind of self-directedly and retrospectively assembling takes towards an intellectual conception of a piece... or something like that
Todd M. McComb
Feb 8, 2024, 3:19:50 AM2/8/24
to
In article <c208714c-e596-4bd9...@googlegroups.com>,
how to evaluate it, the choices involved, starting with creating
one's own sounds & timbres.... And although I've reviewed some
relatively heavily edited music in the general post-jazz space, I
also feel at least somewhat uncomfortable with anything that doesn't
seem like a "straight" recording.... This is ultimately all about
positioning the human element.
cheregi <elir...@gmail.com> wrote:
>Even now, what seems intuitive to me is either treating 'the track'
>entirely as a canvas for editing, manipulating, and recombining
>sound, per Bayle et al, OR treating 'the track' as: pressing
>'record', and capturing one-take live audio from a performer.
>Anything in between, like a pop song with the impression of being
>'a performance' but undoubtedly assembled from many sources, tends
>to seem arbitrary or disingenuous, even manipulative, at least
>initially.
Yes.... I found purely electronic music off-putting in terms of
>Even now, what seems intuitive to me is either treating 'the track'
>entirely as a canvas for editing, manipulating, and recombining
>sound, per Bayle et al, OR treating 'the track' as: pressing
>'record', and capturing one-take live audio from a performer.
>Anything in between, like a pop song with the impression of being
>'a performance' but undoubtedly assembled from many sources, tends
>to seem arbitrary or disingenuous, even manipulative, at least
>initially.
how to evaluate it, the choices involved, starting with creating
one's own sounds & timbres.... And although I've reviewed some
relatively heavily edited music in the general post-jazz space, I
also feel at least somewhat uncomfortable with anything that doesn't
seem like a "straight" recording.... This is ultimately all about
positioning the human element.
Mandryka
Feb 8, 2024, 1:01:44 PM2/8/24
to
Todd M. McComb
Feb 9, 2024, 12:57:27 PM2/9/24
to
Belatedly listening to a few things from Phil Niblock (1933-2024)
after his death last month....
E.g.
https://moderecords.bandcamp.com/album/brazil-84-audio
https://unsounds.bandcamp.com/album/looking-for-daniel
Niblock was a mentor for one of my favorite younger composers,
Catherine Lamb (who I've mentioned here a few times...).
after his death last month....
E.g.
https://moderecords.bandcamp.com/album/brazil-84-audio
https://unsounds.bandcamp.com/album/looking-for-daniel
Niblock was a mentor for one of my favorite younger composers,
Catherine Lamb (who I've mentioned here a few times...).
Paul Goodman
Feb 9, 2024, 1:52:45 PM2/9/24
to
I just started listening to a Chicago Symphony Orchestra recording;
“Contemporary American Composers,” conducted by Ricardo Muti. Composers
highlighted are Jessie Montgomery, Max Raimi (member of the CSO string
section) and Philip Glass.
—
Paul Goodman
“Contemporary American Composers,” conducted by Ricardo Muti. Composers
highlighted are Jessie Montgomery, Max Raimi (member of the CSO string
section) and Philip Glass.
—
Paul Goodman
cheregi
Feb 10, 2024, 1:56:12 AM2/10/24
to
On Friday, February 9, 2024 at 2:01:44 AM UTC+8, Mandryka wrote:
> In a sense it's an extension of total serialism, where the composer specifies timbre, rhythm, pitch, duration etc.
I would never have thought of it this way but you're totally right...
> In a sense it's an extension of total serialism, where the composer specifies timbre, rhythm, pitch, duration etc.
Todd M. McComb
Feb 12, 2024, 4:34:00 PM2/12/24
to
In article <39b6d31e-50cf-43de...@googlegroups.com>,
One thing that's changed quite a bit, albeit gradually, is the sort
of timbres developed & used in electronic music -- versus 30-40
years ago when I decided I didn't want to focus there. Timbre has
become more of a focus in new music in general during that time,
but "traditional" instruments already had pleasant/interesting (&
diverse...) timbres!
of timbres developed & used in electronic music -- versus 30-40
years ago when I decided I didn't want to focus there. Timbre has
become more of a focus in new music in general during that time,
but "traditional" instruments already had pleasant/interesting (&
diverse...) timbres!
Todd M. McComb
Feb 12, 2024, 4:36:35 PM2/12/24
to
Today is, kind of randomly, an album called _My Microtonal Piano_
from pianist Sanae Yoshida: It's contemporary music that involves
retuning the piano, a variety....
It's released on Lawo Classics earlier this year, and on the main
streaming services.
from pianist Sanae Yoshida: It's contemporary music that involves
retuning the piano, a variety....
It's released on Lawo Classics earlier this year, and on the main
streaming services.
Oscar
Feb 13, 2024, 12:02:41 PM2/13/24
to
I have made plans to attend the February recital in the long-running Piano Spheres series. This one will be held at the 2020 Arts & Archives Venue in Westlake neighborhood of Los Angeles. Tickets are $25, and $15 for seniors and students. Vicki Ray is the pianist, and the program, titled Nacht und Träume, is as follows:
Nacht und Träume – Schubert
Unofficial Dreams – Beetz
Book of Beasts – Meites
The Perilous Night – Cage
Nacht – Berg
Intermezzo: December 28, 2020, After midnight – McIntosh
Liminal Landscape – Bill Alves
Is anyone familiar with the music of Rachel Beetz, Andrew McIntosh, Noah Meites and Bill Alves? McComb??
<< Pianist Vicki Ray presents Nacht und Träume – an evening that explores liminal states of consciousness through the music of Cage, Schubert and Berg alongside new works by Rachel Beetz, Andrew McIntosh, Noah Meites and Bill Alves. Using different keyboards, Ray – with guest soprano Elissa Johnston – will probe the territories of night and dreams using piano, prepared piano, synthesizer along with video and electronics. >>
Nacht und Träume – Schubert
Unofficial Dreams – Beetz
Book of Beasts – Meites
The Perilous Night – Cage
Nacht – Berg
Intermezzo: December 28, 2020, After midnight – McIntosh
Liminal Landscape – Bill Alves
Is anyone familiar with the music of Rachel Beetz, Andrew McIntosh, Noah Meites and Bill Alves? McComb??
<< Pianist Vicki Ray presents Nacht und Träume – an evening that explores liminal states of consciousness through the music of Cage, Schubert and Berg alongside new works by Rachel Beetz, Andrew McIntosh, Noah Meites and Bill Alves. Using different keyboards, Ray – with guest soprano Elissa Johnston – will probe the territories of night and dreams using piano, prepared piano, synthesizer along with video and electronics. >>
Todd M. McComb
Feb 13, 2024, 12:41:23 PM2/13/24
to
In article <1be8e041-30a4-43b0...@googlegroups.com>,
Oscar <oscaredwar...@gmail.com> wrote:
>Is anyone familiar with the music of Rachel Beetz, Andrew McIntosh,
>Noah Meites and Bill Alves? McComb??
Familiar I'm not, but I've heard at least Alves on a program....
>Is anyone familiar with the music of Rachel Beetz, Andrew McIntosh,
>Noah Meites and Bill Alves? McComb??
Dan Koren
Feb 14, 2024, 8:21:11 PM2/14/24
to
Graham
Feb 14, 2024, 8:47:26 PM2/14/24
to
On 2024-02-14 6:21 p.m., Dan Koren wrote:
> Stockhausen Helicopter String Quartet
>
> https://www.youtube.com/watch?v=13D1YY_BvWU
>
Crap!
> Stockhausen Helicopter String Quartet
>
> https://www.youtube.com/watch?v=13D1YY_BvWU
>
PPeso
Feb 15, 2024, 1:54:11 AM2/15/24
to
and first performed in 1995.
Dan Koren
Feb 15, 2024, 2:48:35 AM2/15/24
to
the time. He still is ;-)
Cheers
Dan Koren
Feb 15, 2024, 4:40:30 AM2/15/24
to
Cheers
Mandryka
Feb 15, 2024, 4:49:54 AM2/15/24
to
https://www.youtube.com/watch?v=J-EqDl-gHN0
Mandryka
Feb 15, 2024, 4:59:50 AM2/15/24
to
L'atelier rouge is an interesting picture I think. Next time I'm in NYC I'll make time to see it.
cheregi
Feb 16, 2024, 4:55:56 AM2/16/24
to
On Thursday, February 15, 2024 at 5:49:54 PM UTC+8, Mandryka wrote:
> How about microtonal harpsichord? Music written by someone who teaches at Schola Cantorum Basiliensis
>
> https://www.youtube.com/watch?v=J-EqDl-gHN0
cheregi
Feb 16, 2024, 4:57:02 AM2/16/24
to
Todd M. McComb
Feb 16, 2024, 1:09:15 PM2/16/24
to
In article <8df79d9b-2283-4fb7...@googlegroups.com>,
on Usenet. I have no fondness for Google.
cheregi <elir...@gmail.com> wrote:
>Anyway, will you two be migrating to wherever other people are
>suggesting this group move?
Me? No, I'm a long-time Usenet person, and I'll be staying here
>Anyway, will you two be migrating to wherever other people are
>suggesting this group move?
on Usenet. I have no fondness for Google.
Todd M. McComb
Feb 16, 2024, 1:27:37 PM2/16/24
to
In article <b8972e89-fdf6-4862...@googlegroups.com>,
advanced as well by the electronic explorations... forcing people
to consider the details of it.
cheregi <elir...@gmail.com> wrote:
>So I guess both electronic music AND live musicians have made
>progress in this area...
Yes, and I think that timbre on acoustic instruments was probably
>So I guess both electronic music AND live musicians have made
>progress in this area...
advanced as well by the electronic explorations... forcing people
to consider the details of it.
Todd M. McComb
Feb 16, 2024, 6:28:07 PM2/16/24
to
In article <uqo8c5$aas$1...@hope.eyrie.org>,
site, which would be updated if contact information were to change....
(I'll be changing my physical address in the next few months, but
not online addresses.)
Todd M. McComb <mcc...@medieval.org> wrote:
>I'm a long-time Usenet person, and I'll be staying here on Usenet.
This is also my real email address, and of course there is my web
>I'm a long-time Usenet person, and I'll be staying here on Usenet.
site, which would be updated if contact information were to change....
(I'll be changing my physical address in the next few months, but
not online addresses.)
cheregi
Feb 17, 2024, 3:24:19 AM2/17/24
to
I guess what's really happening is someone like me who posts via groups.google.com is now obligated to switch to a different... client? app? whatever the term is?
Notsure01
Feb 17, 2024, 7:58:28 AM2/17/24
to
groups such as RMCR. It was created by computer professionals in 1980 and has
a less friendly interface compared to what is available today, so Google
provided a way to conveniently access Usenet through their Google Groups
interface which follows the interface conventions folks are used to these
days.
For whatever reason, Google will no longer support full access to Usenet as of
the 22nd - old posts will still appear through Google Groups but no new
threads or posts will be there - so there will be no ability to start topics
or reply.
In order to continue access, you will need to acquire a separate app on your
PC or phone that allows access to Usenet - this is called a client. You will
also need to configure the client to point to a Usenet server.
There are many Usenet servers, some of them allow free access, but most have a
monthly charge. sci.space created a separate thread which provides more
detail: "OT - Replacement for Google Groups, recommendations?"
I'm going to now post this explanation there - please feel free to reply there
with any or all questions you have!
And thank you for all of your well written posts on early music, world music,
and contemporary music - the dialog between you and Todd is definitely one of
the highlights of RMCR!
cheregi
Feb 19, 2024, 5:20:17 AM2/19/24
to
> And thank you for all of your well written posts on early music, world music,
> and contemporary music - the dialog between you and Todd is definitely one of
> the highlights of RMCR!
0 new messages