first keystroke, 46.53 at 2348 my time (the blog and i sort of keep different time, though not exactly *) - we were at the point of experiencing comp. 363c - an early (as yet) appearance for the beauteous creation that is falling river music, as previously mentioned tonight. nowhere near as early as this release, admittedly - which i neglected to hyperlink when last i mentioned it, soz - which was (if all is as it shd be) recorded in july 2003 (*1), released in 2006... but as things stand, we are only just now getting to know frm properly, or indeed at all, as far as that goes.
ahhhhhhhhhhhhhh it's so fucken amazing
something about the circumstances turns at least two of b's three (female) (*2) collocutors/coexplorers into (g.) "robairs" so to speak, achieving such incredible degrees of precision over the manifold means of their expressions and utterances that they - well, match the maestro himself to all intents and purposes, certainly on the night, and just leave me continually marvelling - these two are violinist erica dicker and pianist sally norris - if i haven't retroactively included bassoon-charmer katie (formerly credited as katherine) young in this brisk sweep, it's because i didn't notice the same of her playing (while i treated this as semi-b/g music, inevitably under the circ's) - and, well, because that is one difficult instrument to master i should think, and apparently the range of tonal/timbral variation available on it is relatively limited for a reed instrument (*3). - to some small extent, there may even be a familiarity-bred contempt as it were, since i have heard ms young's voice on several recordings previously, usually making a fourth at a hand (or so) of dcw. sally norris is a new name to me altogether, i think, whilst erica dicker only recently elbowed her way (ever so elegantly) into my consciousness as the smiling one, whenever there is a pair of violins (*4); evidently she was on the (braxtonian!) scene somewhat earlier than that (bearing in mind that the first time i was clearly aware of her was in last year's italian gtm reinterpretation)...
... but getting back to my point: something about the music, or the occasion, or the leadership, or all three and (potentially, as ever) more, elevates the musical expressiveness of b's
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* second comment
3 comments:
since mcclintic sphere actually started the site, not me, it was always the case that the blog kept american time. can't remember which time zone exactly, though i "should" be able to work it out easily enough, but in any case a post that was "published" at 5am, say, was not actually published at that time, from my point of view (as the one that hit "publish"!). well there we go eh :)
1. 5-6th july: right, let's see, mrs c. and i were in sweden, and it really needn't be hard for me to figure out where..? near malmö i think... (consults hitherto-unused pix) - yep. erm, needless to say - which is why i never *have* mentioned it, exactly, all these years - that money ran out rather a long time ago :-S
2. yes, it's relevant (see this year's birthday card)
3. ok, so, if we posit "bassoonists in creative music" then only two other names spring to mind really, and one of these - sara schoenbeck - is also only known to me through b's music. the other is of course karen borca, also female as it goes, so make of that what you will; but in any case i remember remarking (to myself at least; much more reticent "in print" back then) on how limited the instrument seems to be, back when i listened to mrs lyons around the church number nine days (eventually posting a rip of *push-pull* by mr lyons himself)... there really doesn't seem to be that much range in terms of what one can use it for, though it supplies a peculiarly chordophonic quality to what already betrays its own innate strand-built nature, in the right mouth: the voice of the reed... and is lithe and limber enough, in the right hands...
4. generally of course she is kept out of the picture where one violin is called for, by the continuing sterling service provided by jessica pavone - who *always frowns* very intently when tackling this man's music, or so it seems... this was noticed, at any rate, when i watched the bienniale performance (as linked at the end of that para in the text)
5. yup, again, it's relevant to make a point of this, even if it does seem to be a case of cracking a nut with a sledgehammer. having raised the point, i am happy to omit the reasons why it's relevant :)
6. - though this varies a little from one moment to the next
ah yes, and
...
... the bienniale performance itself was/is the subject of a post unfinished, pic long since assigned... in fact i wrote a decent portion of it but just couldn't - quite - get it done. mmm, fuckin'ell, weird six months guys {{{{**&&&%%%@@@@@@@@}}}}
mm-hm, for the record, that second comment went up at 0129, bst. that's it, bed within next half hour i reckon... back at work this week...
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