Schoenberg's Sheen

Started by karlhenning, April 12, 2007, 07:35:28 AM

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From Triodes by HJ Prynne

Pandora wrote down her next sight
  of the ossuary in cryptic notation,
      scribbled on her pad; she knew
    the dockets flailed in a price sinkage.
Irene took notes at work; but they dropped
    right out of view, these low-level war figures
      in muzzy profile for a watching brief
  from day to day...

       *  *  *

Right on the nerve uh sweet sugar light! - we
    were accused by harsh desire,
  desire for goodness and protein bonds,
      for sex with our native tongue.
We applied, we tapped on round after round
  as cocking our elbows we saw them fall,
    hot blowing wind to mock weapon
      audit franchise, our amiable
    recoil scores for angry sore points.
At the loading ramps of free misery we both
      did cry out with ecstatic joy
  and not by mistake in gorgeous trip
      on the wheel of punishment -
we saw arch after arch pushing up in the colonnade,
  the cut-open pediments of classical exits
    a canter of promises not quite broken
  because made that way, mazy let-outs of style
    in designer drug options. We did
cry out, brandish our paltry money, did flaunt
      every asset we had.

Comment by Ming Tsao

I generally begin with a preexisting work – such as Schoenberg's Variations – as the
primary text for the composition. This text is then destabilized by reverse-transcribing
it through a rhythmic and metric grid that originates from a different source – such as
J. H. Prynne's poem "Triodes" – which structurally transforms the topology of
gestural materials from their shape of intent thereby placing pressure on the sounds
as they no longer are in harmony with their original expressive purposes. Throughout
this process, noise as a kind of virus is brought to the surface through an exaggeration
of instrumental actions already latent in the original Schoenberg (such as col legno
battuta, extreme bow pressure, overblowing and air sounds, multiphonics, etc.) that
is then blended with quotations from other musical sources as a way of weaving
together materials with radically different auras.

Wovon man nicht sprechen kann, darüber muss man schweigen