Wednesday, May 16, 2012

Music of the Week: Dichotomy (Septet, 1986) by crucialsound

Dichotomy (Septet, 1986) by crucialsound
"Dichotomy (Septet, 1986) crucialsound Conor Dowling, Northampton, United States Recorded live to cassette at the venerable Mills College Concert Hall in 1986, 'Dichotomy' is scored for two pianos, 'cello, double bass, electric bass, electric guitar, and percussion. It contains scored, "graphic", and improvisational elements. It was one of the pieces comprising my so-called Thesis Concert. Ably conducted by Richard "Uncle Dick" Miller (RIP)."

Saturday, May 12, 2012

Music of the Week: Three Quarter -Tone Pieces by Charles Ives

Charles Ives
 3 Quarter-Tone Pieces (1924) 
I. Largo
II. Allegro
III. Chorale

Performed by the Paratore brothers.

Monday, May 7, 2012

"My Thoughts Are Murder To The State" -- Thoreau "Slavery in Massachusetts" (1854)

A thought from Henry David Thoreau that was happened upon:

"I walk toward one of our ponds, but what signifies the beauty of nature when men are base? We walk to lakes to see our serenity reflected in them; when we are not serene, we go not to them. Who can be serene in a country where both the rulers and the ruled are without principle? The remembrance of my country spoils my walk. My thoughts are murder to the State, and involuntarily go plotting against her."
Thoreau - Slavery in Massachusetts (1854).

Wednesday, May 2, 2012

Music of the Week: Mysterybear Bathypelagic Congress - Live on Danger Blossoms (2012-Apr-18)

  Mysterybear's description of this piece:
Live improvisation for the Danger Blossoms radio show (hosted Felix the Cataclysm, aka my son). Recorded in the studios of WKNH at Keene State College. This was made without any synths; all sounds were the result of feedback loops. Inspired by the work of David Tudor and dedicated to his memory.
Gear: Audible Disease Rupture RP-1, Boss Heavy Metal HM-2 distortion pedal, Moogerfooger Ring Modulator, Boss PH-3 Phaser, E-H Deluxe Memory Man, Digitech Grunge distortion pedal, Roland RC-2 Loop Station, E-H Holy Grail Plus, Roland D-BASS 210 amp.
 Danger Blossoms

Tuesday, May 1, 2012

Ernest Hemingway on his musical, literary, and visual "forebears" from Paris Review, 1954

Who would you say are your literary forebears—those you have learned the most from?
Mark Twain, Flaubert, Stendhal, Bach, Turgenev, Tolstoy, Dostoyevsky, Chekhov, Andrew Marvell, John Donne, Maupassant, the good Kipling, Thoreau, Captain Marryat, Shakespeare, Mozart, Quevedo, Dante, Virgil, Tintoretto, Hieronymus Bosch, Brueghel, Patinir, Goya, Giotto, Cézanne, Van Gogh, Gauguin, San Juan de la Cruz, Góngora—it would take a day to remember everyone. Then it would sound as though I were claiming an erudition I did not possess instead of trying to remember all the people who have been an influence on my life and work. This isn’t an old dull question. It is a very good but a solemn question and requires an examination of conscience. I put in painters, or started to, because I learn as much from painters about how to write as from writers. You ask how this is done? It would take another day of explaining. I should think what one learns from composers and from the study of harmony and counterpoint would be obvious.

Ernest Hemingway 
Interviewed by George Plimpton
The Paris Review 
 The Art of Fiction No. 21 — Conversation in a Madrid café, May 1954