Author Topic: This music is like placing your feet in the sand by the ocean's edge. (Read 1377 times)

Mandryka · « **on:** July 08, 2020, 12:15:56 AM »

The title comes from Steve Reich’s 1968 essay Music as a Gradual Process, though I don’t want this thread to be limited to New York minimalism, or indeed any other minimalism.

So, please comment on your favourite recordings of music which reminds you of one of these things:

1. Pulling back a swing, releasing it, and observing it gradually come to rest.

2 Turning over an hour glass and watching the sand slowly run through the bottom.

3. Placing your feet in the sand by the ocean's edge and watching, feeling, and listening to the waves gradually bury them

Mandryka · « **Reply #1 on:** July 08, 2020, 12:21:51 AM »

Nikolaus Brass was a student of Helmut Lachenmann. His string quartets are well worth a listen. There are elements of repetition and change which feel like the ocean lapping on your feet, though not in all movements. In fact the idea for this thread struck me listening to part of his third quartet here

Mandryka · « **Reply #2 on:** July 17, 2020, 12:09:01 AM »

Music by Aldo Clementi here, I've been listening to the radiant piece called Momento

<a href="https://www.youtube.com/v/9PhvBLbVYX0" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/9PhvBLbVYX0</a>

Like James Tenney he can seem to be academic, because there aren't any marked changes, everything evolves like in Feldman, but I think it's only a superficial appearance. Deep down he's deep. Or rather, I'd rather think that than that the emperor wears no clothes. But you have to be ready to enjoy the process.

Mirror Image · « **Reply #3 on:** July 20, 2020, 12:05:35 PM »

This is post I made on another one of your threads, which I think think applies here as well:

Quote from: Mirror Image on July 06, 2020, 01:46:57 PM

I think Justė Janulytė qualifies here:

Justė Janulytė (born 1982 in Vilnius) studied composition at the Lithuanian Academy of Music and Theatre (with Bronius Kutavičius and Osvaldas Balakauskas), Milan “Giuseppe Verdi” Conservatoire (Alessandro Solbiati) and in various masterclasses (Luca Francesconi, Helena Tulve etc.).

Janulytė's music has been played in Europe, USA, Canada and Australia, by many Lithuanian performers as well as Teatro La Fenice Symphony (cond. Eliahu Inbal) and Gothenburg Opera Symphony (cond. David Björkman) Orchestras, BBC National Orchestra of Wales (cond. Garry Walker), Polish National Philharmonic Orchestra (cond. Jacek Kaspszyk), Brno Philharmonic (cond. Maciej Tworek) and French Flute Orchestra, Riga Sinfonietta (cond. Normunds Sne), Birmingham Contemporary Music Group, Ensemble Bit20 (Bergen), Orchestrutopica (Lisbon), Estonian Philharmonic (cond. Paul Hillier), Danish Radio chamber (cond. Fredrik Malmberg), Latvian ''Kamer'', French Sequenza 9.3 and Polish „Camerata Silesia“ choirs, Quasar (Montreal), Xasax (Paris) and Flotilla (UK) saxophone quartets, cellists Francesco Dillon (IT), Henri Demarquette (FR), Anton Lukoszevieze (UK), flutist Manuel Zurria (IT) and others. Her works were included in the programmes of the Sydney festival, Schleswig-Holstein festival, Venice Biennale, Holland festival (Amsterdam), Warsaw Autumn (PL, 2011, 2012, 2015), Music Gardens (Warsaw), Huddersfield Contemporary Music Festival (UK, 2008, 2010), SonicA (Glasgow), Maerzmusik (Berlin), Musica festival (Strasbourg), RomaEuropa, Musikprotokoll im steirischem Herbst (Graz), World New Music Days (2009, 2014), Musicadhoy (Madrid), Vale of Glamorgan Festival in Cardiff (UK), Expositions of New Music, Moravian Autumn (Brno, CZ), Cesis Art Festival (LV, composer in residence 2012), Gaida (Vilnius, 2005, 2007, 2010, 2012, 2015) among others.
Justė Janulytė first came into public view in 2004 when her graduation work White music for 15 strings was awarded as the best chamber piece at the competition organized by the Lithuanian Composers' Union. Furthermore, she has been awarded for the best orchestral work (Textile, 2008), the best chamber work (Elongation of Nights, 2010) and the first prize among 2010 Lithuanian pieces for Sandglasses at the same competition. In 2009 Aquarelle for choir won the 1st prize (in the category of composers under 30) at the International Rostrum of Composers in Paris. Witihin the span of several years her experimental and highly visionary works have earned her international renown and official recognition at home in the form of the Young Artist's Prize awarded by the Lithuanian Ministry of Culture of 2011. On the 18th of December 2013 her concert installation "Sandglasses" was performed at the Flagey Center, Brussels at the closing event of the Lithuanian Presidency of the Council of the EU.

Majority of the works by the author, written for 'monochromatic' ensembles (e.g. 24 flutes, 21 string, 16 voices etc.), represent slow and gradual ''thermodynamic'' metamorphoses of texture, timbre, register, articulation and dynamics. While balancing between the aesthetics of minimalism, spectralism and drone music, Justė Janulytė composes acoustic metaphors of optic ideas (Silence of the Falling Snow, 2006; Pendulums, 2011, Observation of Clouds, 2012 etc.) and researches the visual nature of musical phenomena in the works where sound and image are fused together (Breathing Music for string quartet, electronics and kinetic sculptures, 2007; Eclipses for violin, viola, cello, double bass, live electronics and soundproof glass installation, 2007/Integra, Sandglasses for 4 cellos, electronics and installation of video, lights and tulle, 2010/Réseau Varèse).

Since 2006 Janulytė has been teaching a course on contemporary music language at the Lithuanian Academy of Music and Theatre. In 2011 she was a jury member at the Czech composition competion called NUBERG, organized by the Berg Orchestra in Prague and the guest lecturer at the Nordplus Music Labaratory "Process 2013" in Nida (LT). In 2014 May Janulyte held 3 days composition masterclasses at the Sassari Conservatoire (IT). In 2014 her first portrait double album "Sandglasses" was released by the Lithuanian Music Information and Publishing center, consisting of a DVD with Sandglasses and CD with the most important acoustic works. The composer has also written critics and articles on music. Lives and works in Vilnius and Milan.

https://soundcloud.com/juste-janulyte

Cato · « **Reply #4 on:** July 20, 2020, 12:20:20 PM »

On an Ocean by John Frizzell, who is not a "classical composer" per se, as far as I know. The singer is Lisa Garrard. We rewatched the movie Henry Poole Is Here, and the song is used quite well at a crucial spot.

<a href="https://www.youtube.com/v/5_F0Io6LGIM" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/5_F0Io6LGIM</a>

k a rl h e nn i ng · « **Reply #5 on:** July 20, 2020, 01:46:14 PM »

Huzzah! A Cato sighting!

k a rl h e nn i ng · « **Reply #6 on:** July 20, 2020, 02:03:23 PM »

As I recorded in my blog:

As I worked on Nuhro with its drones, pedal-tones (or pedal-intervals), and unhurried tread, I paid close attention to the pacing, I made a point in the unfolding design of varying both textures, and centers of registral gravity. I labored over it all the more, as the pitch-center is relatively constant through the piece (one of the factors of relative stasis). I wanted the piece to be beautiful, and I was eager that it should in no way be dull.

When at last, I reached the end, and I thought and reconsidered and wondered if it really were done, if there really remained nothing which I ought in good musical conscience to adjust or improve, it was August, and my wife asked me if I did not want to go to the beach. I certainly did. The final stage of composing Nuhro, of weighing the question whether it really were done, was the composer wading out calmly into the surf, and replaying the nascent piece in his inner ear, and feeling a profound harmony between his outer and interior experiences.

It was on the sands of Cape Anne, that I knew I had written what was probably the best music I had made to that point.

<a href="https://www.youtube.com/v/r2vn2PB_-9g" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/r2vn2PB_-9g</a>

Old San Antone · « **Reply #7 on:** July 20, 2020, 02:09:04 PM »

Quote from: k a rl h e nn i ng on July 20, 2020, 02:03:23 PM

As I recorded in my blog:

As I worked on Nuhro with its drones, pedal-tones (or pedal-intervals), and unhurried tread, I paid close attention to the pacing, I made a point in the unfolding design of varying both textures, and centers of registral gravity. I labored over it all the more, as the pitch-center is relatively constant through the piece (one of the factors of relative stasis). I wanted the piece to be beautiful, and I was eager that it should in no way be dull.

When at last, I reached the end, and I thought and reconsidered and wondered if it really were done, if there really remained nothing which I ought in good musical conscience to adjust or improve, it was August, and my wife asked me if I did not want to go to the beach. I certainly did. The final stage of composing Nuhro, of weighing the question whether it really were done, was the composer wading out calmly into the surf, and replaying the nascent piece in his inner ear, and feeling a profound harmony between his outer and interior experiences.

It was on the sands of Cape Anne, that I knew I had written what was probably the best music I had made to that point.

Wonderful.

vandermolen · « **Reply #8 on:** July 22, 2020, 12:05:27 PM »

Kabeláč's 'Mystery of Time' came to mind for both 1 and 2.

Mandryka · « **Reply #9 on:** July 23, 2020, 01:15:25 AM »

Quote from: Mandryka on July 08, 2020, 12:21:51 AM

Nikolaus Brass was a student of Helmut Lachenmann. His string quartets are well worth a listen. There are elements of repetition and change which feel like the ocean lapping on your feet, though not in all movements. In fact the idea for this thread struck me listening to part of his third quartet here

I'm just posting to say that I've been listening to Brass's 4th quartet. Not process music, though there are elements of that. It's fabulous! Serious and long, but poetic and challenging. He's a composer I intend to explore more.

Mandryka · « **Reply #10 on:** July 23, 2020, 01:35:57 AM »

Quote from: k a rl h e nn i ng on July 20, 2020, 02:03:23 PM

As I recorded in my blog:

As I worked on Nuhro with its drones, pedal-tones (or pedal-intervals), and unhurried tread, I paid close attention to the pacing, I made a point in the unfolding design of varying both textures, and centers of registral gravity. I labored over it all the more, as the pitch-center is relatively constant through the piece (one of the factors of relative stasis). I wanted the piece to be beautiful, and I was eager that it should in no way be dull.

When at last, I reached the end, and I thought and reconsidered and wondered if it really were done, if there really remained nothing which I ought in good musical conscience to adjust or improve, it was August, and my wife asked me if I did not want to go to the beach. I certainly did. The final stage of composing Nuhro, of weighing the question whether it really were done, was the composer wading out calmly into the surf, and replaying the nascent piece in his inner ear, and feeling a profound harmony between his outer and interior experiences.

It was on the sands of Cape Anne, that I knew I had written what was probably the best music I had made to that point.

Lovely piece of music and a good blog entry. Much appreciated.

Cato · « **Reply #11 on:** July 23, 2020, 02:50:08 AM »

Quote from: k a rl h e nn i ng on July 20, 2020, 02:03:23 PM

As I recorded in my blog:

As I worked on Nuhro with its drones, pedal-tones (or pedal-intervals), and unhurried tread, I paid close attention to the pacing, I made a point in the unfolding design of varying both textures, and centers of registral gravity. I labored over it all the more, as the pitch-center is relatively constant through the piece (one of the factors of relative stasis). I wanted the piece to be beautiful, and I was eager that it should in no way be dull.

When at last, I reached the end, and I thought and reconsidered and wondered if it really were done, if there really remained nothing which I ought in good musical conscience to adjust or improve, it was August, and my wife asked me if I did not want to go to the beach. I certainly did. The final stage of composing Nuhro, of weighing the question whether it really were done, was the composer wading out calmly into the surf, and replaying the nascent piece in his inner ear, and feeling a profound harmony between his outer and interior experiences.

It was on the sands of Cape Anne, that I knew I had written what was probably the best music I had made to that point.

Quote from: Mandryka on July 23, 2020, 01:35:57 AM

Lovely piece of music and a good blog entry. Much appreciated.

Quote from: Old San Antone on July 20, 2020, 02:09:04 PM

Wonderful.

Yes! Nuhro is one of Karl's best works!

Why it is not one of America's - and the world's - most heard compositions I have no idea! We at least have the great joy of knowing the work!

Mandryka · « **Reply #12 on:** December 02, 2020, 01:04:39 PM »

Now this is not for the squeamish - definitely not à la Philip Glass.

<a href="https://www.youtube.com/v/MOy3q0gBwUU" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/MOy3q0gBwUU</a>

James Weeks is a seriously interesting composer.

Mandryka · « **Reply #13 on:** January 23, 2021, 08:53:54 PM »

<a href="https://www.youtube.com/v/Mow3WPg4H-8" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/Mow3WPg4H-8</a>

Tony Conrad’s Early Minimalism. I guess this strand of American minimalism is not as well known as Glass’s work, or Reich’s or Feldman’s long form. I wonder why.

steve ridgway · « **Reply #14 on:** January 24, 2021, 07:17:20 AM »

Quote from: Mandryka on January 23, 2021, 08:53:54 PM

Tony Conrad’s Early Minimalism. I guess this strand of American minimalism is not as well known as Glass’s work, or Reich’s or Feldman’s long form. I wonder why.

I know it via the Outside The Dream Syndicate (30th Anniversary Edition) CD in which he was backed by Krautrock group Faust. I prefer the tracks where they didn’t quite follow instructions and played a little more than one note.

Mandryka · « **Reply #15 on:** January 24, 2021, 09:38:44 AM »

Tony Conrad came up in a discussion about Stockhausen’s Stimmung. Someone said that he had been in a conversation with Conrad where he said that he’d been exploring drones and overtones years and years before Stockhausen, and similarly for his mates in New York like Terry Riley and La Monte Young. If you or anyone else sees anything about this, maybe in the booklet to a recording, please say.

Early Minimalism has a sort of authentic feeling, sincere honest music making straight from the hip.

Mandryka · « **Reply #16 on:** January 26, 2021, 10:21:07 AM »

This is a bootleg concert recording, taken from La Monte Young’s archives. It was released commercially for a short time but later withdrawn because Young did not consent. He said that the sound quality did not give a good insight into the music created on the night.

The sound quality is not the best.

But honestly this is just to carp. It is a record of one of those very rare things: a concert where some real magic happens.

steve ridgway · « **Reply #17 on:** January 26, 2021, 10:03:53 PM »

The booklet for Outside The Dream Syndicate says:

”In the mid 1950s Conrad had been a student of violinist Ronald Knudsen. Seeing no concert future in the teenager, Knudsen devoted many of his lessons to acoustics, harmonic theory, and intonation. He assigned scales and contrapuntal pieces, always to be played as slowly and exquisitely in-tune as possible. In the “dream music” group Conrad’s violin playing started with the customary “drone” tones of Indian music, but over the course of the first whole year, by adding one precisely adjudicated note after another, he gradually extended the group’s use of a select vocabulary of interrelated harmonic intervals. Some of these notes are very common, others far less so, as heard in the present recordings. As in Indian music, there is always a continuous tonic background tone”.

Mandryka · « **Reply #18 on:** January 27, 2021, 12:58:08 AM »

I wonder if Tony Conrad and Scelsi knew about each other.

Listening to this -- really fabulous!

<a href="https://www.youtube.com/v/Aav9yXcSyuo&ab_channel=Alex.A.Kazazis" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/Aav9yXcSyuo&ab_channel=Alex.A.Kazazis</a>

~

Mandryka · « **Reply #19 on:** January 31, 2021, 03:22:15 AM »

<a href="https://www.youtube.com/v/szPabAOfz1g&ab_channel=FranzBannwart" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/szPabAOfz1g&ab_channel=FranzBannwart</a>

Larry Polansky's for Jim dedicated to James Tenney, this is a wonderful piece, with some memorable subtle changes. I like it very much.

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Author Topic: This music is like placing your feet in the sand by the ocean's edge. (Read 1377 times)