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
* first comment
* second comment