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Biroc
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« Reply #1365 on: 23:31:31, 17-09-2007 » |
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 Geez. Why didn't anyone tell me it was so good? Think you'll find that Richard and I already did mate...  |
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"Believe nothing they say, they're not Biroc's kind."
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Biroc
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« Reply #1366 on: 23:31:58, 17-09-2007 » |
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Or was that sarcasm a la USA??  |
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"Believe nothing they say, they're not Biroc's kind."
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Chafing Dish
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« Reply #1367 on: 01:35:23, 18-09-2007 » |
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Think you'll find that Richard and I already did mate... Which one of you is expecting? |
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richard barrett
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« Reply #1368 on: 08:00:37, 18-09-2007 » |
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Think you'll find that Richard and I already did mate... Which one of you is expecting? Gosh! I thought I was just putting on weight. |
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time_is_now
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« Reply #1369 on: 10:08:39, 18-09-2007 » |
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On at this precise moment an early demo of Quicksand, a 12-string guitar and a voice originating from somewhere between heaven and earth, my favourite voice in any genre by some way.
That sounds like a serious recommendation except that unfortunately I don't know who you're talking about.  Where can I get to hear this voice? |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Evan Johnson
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« Reply #1370 on: 10:12:28, 18-09-2007 » |
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Or was that sarcasm a la USA?? Now you're catching on! Perhaps cloudy northern England has dulled your senses... poor Aaron, what is he in for... |
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harmonyharmony
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« Reply #1371 on: 10:29:14, 18-09-2007 » |
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This morning it's more Glass: Music in Twelve Parts
I'm moving on to some more Nancarrow later, time for some comparisons...
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Daniel
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« Reply #1372 on: 12:47:43, 18-09-2007 » |
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On at this precise moment an early demo of Quicksand, a 12-string guitar and a voice originating from somewhere between heaven and earth, my favourite voice in any genre by some way.
That sounds like a serious recommendation except that unfortunately I don't know who you're talking about. Where can I get to hear this voice? I did mention it in the first line which you cut from your quote, sorry if it wasn't clear, but it's David Bowie's voice I'm referring to. A voice of such extraordinary variety and charisma that I really don't have the language to express what a wondrous thing I think it is. These days it is not the wonder that it once was, and as he seems to have got happier, so he seems to have become slightly less creatively dynamic - perhaps it's his age or perhaps it's me that's become less creatively receptive. When he was younger he was very insecure about his voice, which to me is akin to Marilyn Monroe feeling she's not attractive (which she often did), but in both, I think an insecurity fashioned a response to the world which greatly added to its store of treasures (which now that George has changed his strapline/bikini line I feel confident in saying is a good thing ). |
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harmonyharmony
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« Reply #1373 on: 14:50:53, 18-09-2007 » |
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Wergo CD. I've never heard any other recordings (should I be ing?) so I'd be really grateful if you could tell me how the recordings differ. Well, if you ever happen across any of the Arch LPs., grab it quick. They are like gold dust. Unlike the Wergo set, they were recorded on the instrument Nancarrow intended them for (it was out of commission when the Wergo sessions took place). The MDG ongoing set is quite remarkably better in sound than the Wergo. They use, with Nacarrows express approval, a restored Bösendorfer grand player piano, with hammer board addapted to Nancarrows requirements. Don't hesitate. By the way, the information on the Forced Exposure site regarding these recordings is bogus. The instrument was not Nancarrow's. He did like the results he heard from it though. Well the most obvious difference is that the MDG recording sounds like a piano rather than like a mutant banjo. There's a great deal of clarity and the sound feels more present somehow. Tuning's better too. Time to save up. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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harmonyharmony
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« Reply #1374 on: 15:07:36, 18-09-2007 » |
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As an antidote to all that Glass earlier, I'm listening to the NMC Chris Dench disc.
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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richard barrett
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« Reply #1375 on: 15:23:21, 18-09-2007 » |
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Agon, LSO/MTT (arrived yesterday though I ordered it some time ago before a certain transportation module malfunctioned and ate all my money)
Yes!
Much more naturally balanced and paced than the Craft recording. Also rather refreshing (considering the CD also contains the Huxley Variations) to see that the liner note doesn't contain the term "twelve-tone" or any of its cognates. The cover is even more horrific in the flesh than on the screen though. And I don't much like having a CD that kicks off with the "Star-Spangled Banner" (or indeed any other such crap from anywhere else).
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Ron Dough
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« Reply #1376 on: 15:38:30, 18-09-2007 » |
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I'll forgive the disc for those two faults, r, when it delivers so well on the Agon (and the rest of the programme). Delighted you see now what I mean about Craft's pacing!
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Evan Johnson
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« Reply #1377 on: 16:43:00, 18-09-2007 » |
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As an antidote to all that Glass earlier, I'm listening to the NMC Chris Dench disc.
... driftglass? Clearly you can't pull yourself away. |
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richard barrett
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« Reply #1378 on: 17:13:14, 18-09-2007 » |
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My very thoughts, Evan. By now he's probably listening to Dillon's Windows and Canopies or Donatoni's Blow or Berg's Der Wein or
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richard barrett
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« Reply #1379 on: 17:24:51, 18-09-2007 » |
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I'll forgive the disc for those two faults, r, when it delivers so well on the Agon (and the rest of the programme). Delighted you see now what I mean about Craft's pacing!
The Variations make so much more sense than in IS's own recording too (presumably made at a time when its idiom was even more unfamiliar to orchestral players than it subsequently became). The one with sul ponticello strings, though, still seems to open a door into a whole different "textural" soundworld for Stravinsky - maybe if he'd lived even longer he would have abandoned twelve-tone composition for Ligeti-like "micropolyphony"... |
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