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no and field recordings open up distant recollections and i ve written before about michał jacaszek who contributes the beautiful track elegia that starts with a simple piano melody and slowly layers field recordings voices strings and effects into a startlingly full sound the side concludes with cornelia amygdaloid from the fun years whose loops and muted detuned power chords are buried under an avalanche of vinyl static the closest track to glitch in the collection side c has two layered drone pieces the first one the tranquil three parts by danish producer manual shifts through extended breathy tones that merge into each other then aidan baker layers his processed electric guitar building through a two note oscillation in substantiated a track that spends its last half in dissipation as the melodic fragments fade into dust rafael anton irisarri opens side d with moments descend on my windowpane a cozy acoustic piano song accompanied by gentle drones and tiny crackles the calm continues with kyle bobby dunn s peaceful harmonies on runge s last stand whose long phrases take off from the same motif but unwind through several melodic and harmonic variations like gusts of wind across a pond the set closes with peter broderick s melancholy pause perhaps based on a steel string acoustic guitar performance with overdubs on electric and very much in keeping with the rest of the side smm context is available directly from ghostly either as a limited lp cd or download at 320 kbps it s also on itunes with a different track order finally a dj named felte has created a mix podcast from the album freely available posted by caleb deupree at 10 54 am no comments labels cd ghostly promo smm_context monday march 14 2011 the cunningham legacy tour saturday night the merce cunningham dance company s legacy tour came through tucson with an evening of three dances spanning nearly fifty cunningham s creative choreography let me state at the outset that i don t follow contemporary dance with anywhere near the avidity with which i approach music so i don t have the vocabulary or experience to say much technically about the dances my primary interest was that cunningham was cage s life partner and cage was the company s first musical director and remained a musical advisor to cunningham s troupe from its inception until his death in 1992 seeing the dance however opened up a whole side of cage that i had never seen before i was completely entranced and exhilirated by the three dances that the group performed last night and i feel very fortunate to have attended this glorious performance the opener was 2007 s xover pronounced crossover one of cunningham s last creations set to the only cage music we heard all evening from the orchestra pit john king takehisa kosugi and jesse stiles each performed a version of fontana mix on electronics from stage left aurora josephson performed her realization of aria unfortunately i couldn t see what the electronics performers were doing but josephson was amazing snatches of recitation in english french and italian bird calls gargling and who knows what else i thought i heard kosugi s violin in the mix and several times orchestral and other recordings emerged from what was generally the same types of electronic noise that we hear on old cage and tudor recordings from the period sometimes the percussive attacks were quite loud and sometimes i thought i heard some kind of tuned percussion instrument with a contact mic the dancers were all dressed in white and the background was a huge painting by robert rauschenberg sort of geometric red rectangles with some fairly detailed sections largely on a white background and a brightly lit stage the choreography centered around two couples whose actions were sometimes nearly identical to each other and sometimes wildly divergent and they would break off into solos or add several other dancers there are a total of eleven dancers for this piece into little set pieces i was quite taken with the interplay between the music and the dance which often were seemingly at odds with each other the second work was the earliest crises from 1960 with music from seven of conlon nancarrow s rhythm studies for player piano only five dancers here dressed in red and orange against a black stage in another rauschenberg design and i continued to find the motions completely engrossing narrative dance pieces have never appealed to me but these fluid movements seemed as little vignettes out of a continuous stream the sole work in the second half was biped a 45 minute piece from 1999 with music by gavin bryars the stage like for crises is dark but it looks like narrow beams of light ascend from floor to ceiling not only in the back of the stage but up front too then the ones in front fade in and out and as the first few minutes pass by the light on half the stage looks a little odd then the columns in front start to move it turns out there s a transparent screen at the front of the stage and as the piece progresses the projections become more elaborate at first the columns break off into lines which in turn form colored geometric patterns but then there are dancers their bodies visible from outlines like skeletons made from flames of light cunningham collaborated with paul kaiser and shelley eshkar to create an animation technology that captured the dancers movements but not their physical appearance and there are up to thirteen dancers on stage too dressed in very strange shiny costumes that looked like some kind of plastic at one point some of the dancers donned opaque cloaks which blurred their figures even more bryars music for violin kosugi cello loren dempster and electric guitar king was a full string sound by far the most traditional music of the evening i was surprised to see that there were only the three musicians for how orchestral they sounded bryars description of the piece suggests that the other instruments i heard were pre recorded the combination of the newest dance with 1960s style electronic music which opened the concert may have disoriented my sense of chronology but i could not detect any difference in cunningham s choreography between the early and late works the way cage s music was completely different between the early live electronic music and the number pieces he composed in his last years no doubt i was receptive to the dance because of cunningham s place in contemporary music there was certainly a spectacle quality especially in biped with so much simultaneous activity perhaps i enjoyed it more than other modern dance companies because of the live performances of the music i enjoy in any case the performances touched the mysterious transcendance of the observer in mute wonder a performance that i will always remember the cunningham legacy tour continues the rest of the year in the us and abroad and the group will disband after a new year s eve performance this year in new york complete details are available at the merce cunningham web site and i cannot recommend it too highly posted by caleb deupree at 5 19 pm no comments labels john_cage merce_cunningham wednesday march 9 2011 sweet cello my latest side trip into the world of j s bach is a paperback i picked up on a whim at our local indie bookshop the cello suites by canadian journalist eric siblin i was previously unfamiliar with these suites except from guitar or lute transcriptions emusic has an excellent recording by pierre fournier on dgg archiv for a decent price so i availed myself of the opportunity a wise move because both book and music are excellent siblin first encountered the cello suites at a recital selected by chance during the unwinding of a pop music critic stint at the montreal gazette the program notes mentioned that no original manuscript of the suites has been located and siblin s journalistic interest was piqued nine years later siblin published his book a parallel biography of bach and pablo casals the cellist who introduced the suites to the world bach wrote six cello suites so siblin divided his book into six parts one for each suite the suites each have six movements following a standard sequence starting with a prelude allemande courante sarabande and concluding with a gigue the fifth movement varies between minuet bourrée or gavotte siblin also subdivided each chapter into the suites six movements three for bach two for casals and reserving the ultimate gigue for the story of his quest siblin shifts perspective in the bach chapters so that the cello suites are never far from view even as his attention wanders over a wide range of topics from biography of bach and his descendants to reception history scholars place their genesis during bach s tenure at köthen where he wrote much of his virtuoso keyboard and secular music so siblin has a chapter on the political forces that had caused excellent musicians to migrate to köthen from berlin an example of a historical context that siblin deploys throughout the book a near eastern flourish in the prelude to the fourth suite leads to a digression on whether bach might have ever heard jewish music each chapter has an entertaining or illuminating anecdote and together they give a multi dimensional perspective on these suites the casals chapters of necessity covered world history since casals was an outspoken peace activist after the experience of wwii and the spanish civil war he discovered the suites while he was foraging used sheet music stores in barcelona when he was thirteen and they became a lifelong trademark work he made his first recording of the suites in 1936 while in exile to england when the battle of madrid was raging after the war he refused to play in countries that supported or even recognized franco including the united states he broke his vow only in 1958 when he performed in manhattan as part of a united nations concert alarmed by the threat of nuclear war the personal reflections in the gigue chapters gave the book a depth of character that went beyond the biographies and in bach s case informed speculation of the two musical giants siblin learned a prelude on guitar joined a community choir to sing a cantata and even took a couple of cello lessons all to get a deeper appreciation for bach s music his drive coupled with the dual biographies propelled the book forward made me eager to read another chapter siblin s background in journalism informed his writing and made the book easier to read between his writing style and the short chapters the cello suites is an entertaining read that i could read late at night when a scholarly book would have required too much concentration posted by caleb deupree at 10 17 am 3 comments labels bach books eric_siblin friday march 4 2011 electroacoustics from iceland one of the joys of reviewing is the unexpected the music that i never would have found except for the promotional copy that arrives in my inbox such a case is a young icelandic electroacoustician bjarni gunnarsson whose first solo album safn 2006 2009 was released last year on the belgian microlabel lamadameaveclechien the lady with the dog in french gunnarsson is a member of the duo einóma who has a parallel release on lamadameaveclechien a 12 inch ep beatfest tvenna he comes to music from a strong academic background in computer science with some time spent at ccmix in paris studying with gerard pape and trevor wishart he is also a masters student at the institute of sonology studying connective compositional environments a method of working on several structural levels simultaneously here s how gunnarsson describes his research the central question for my research is how to define musical processes as operational objects how these objects can interact in a network of objects and how this can create a flexible and adaptable composition environment each object would respond to well defined high level methods and general parameters making the non linear transition between time scales possible the composer is here an important component of the network and guiding its behavior i didn t find this description until after hearing the music several times but it s completely apt for the album it s almost like pierre schaeffer s sound objects woke up and started walking around i found myself selecting certain sounds as characters in the drama that unfolds over the course of the album in particular several tracks feature a stick percussion sound something like a tom tom or a taiko drum it signals sectional changes in aftur steps out for an expressive virtuosic closing to blindi initiates various sound events in udrun and dried up drives time out forward with a ghostly drum n bass the interaction between the drum and various electronics opening dried up would bring to mind a human interaction except that the skittering electronics sound so alien that i could not imagine any kind of instrumental origin the artist s brief statement on the label web site says that the sound material varies from voices violins and percussive sounds so perhaps voices take on a character role as well they are most prominent on blindi where a wordless female choir provides some of the most ethereal drones on the album before they are buried under the effects and lost in white noise but this is the only track where voices are identifiable as such except for a brief whisper in dried up but another character is almost a process more than a sound the transition from pitch to pulses made famous in stockhausen s kontakte gunnarsson uses this sonic splintering to great effect on several pieces peeling elements from the drone in layers possessing them to melodic dissipation as new sounds emerge to replace them if voices violins and percussive sounds are the source for all of the sounds on the album the timbral variation is even more astounding i suspect that he uses original designed sounds as well the music reminds me also of parmegiani specifically in the way both artists create percussive sound objects and exploring their resonance in any event the album has seven tracks all in the six eight minute range the artist sent me a download but the cd is available in two limited editions by itself or with a different cover packaged with the einóma ep as far as i can tell it s available only from the label which also has a couple of streaming clips it deserves a wider distribution and fans of new electroacoustic music should definitely check it out posted by caleb deupree at 7 48 am 1 comment labels bjarni_gunnarsson cd promo older posts home subscribe to posts atom about me caleb deupree retired software engineer now devoted to music of various types contact me at ctdeupree at gmail dot com view my complete profile cathedral cathedral was composed over a two year period almost entirely from piano samples plus a very few night time crickets recorded in our wildflower garden in central ohio one majestic piece of drone music frans de waard 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