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| Seasons of Blue |
Welcome to this day to day sharing of insights into music. My thoughts and my playing reflect my lifelong drive to integrate primary reactions to sounds with a sense of playfulness open to lyricism as to intellectual game-playing - the level of musical response endangered if not already extinct due to the endemic compilations of sameness that make up our soundworld.
Thursday, June 5, 2014
I See Klimt; Others See Monet; What Do You See?
Come see for yourself: It's up for auction. Info and bidding
at www.tonalrefraction.com
Specific Sounds and Nils Vigeland
Last night I had the privilege of hearing the world premiere of a wonderfully engaging work by Nils Vigeland. Scored for the unlikely combination of harpsichord, glockenspiel, flute, and cello, it evoked all possible references to the sound world of each of the single instruments and of every possible permutation of their combined sounds: in pairs, trios, and as the full assemblage.
I was literally on the edge of my chair, an experience all too rare in an era of self-conscious avoidance of the substantive nature of sound itself while pursuing the refinements of compositional technique and other irrelevancies.
I want to be engaged via the ear in every manner of mood and possibility. It was all there. Thanks, Nils!
I was literally on the edge of my chair, an experience all too rare in an era of self-conscious avoidance of the substantive nature of sound itself while pursuing the refinements of compositional technique and other irrelevancies.
I want to be engaged via the ear in every manner of mood and possibility. It was all there. Thanks, Nils!