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Strmbrg
bevärlig & besynnerlig hififilosof
1580 Posts |
 Posted - 2002/09/11 : 14:09:37
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Antingen kan man spela "enkel musik" om man månar om stereon.
Eller så kan man spela trevlig musik, om man månar om sej själv.
Eller så kan man spela jobbig musik, om man inte månar om vare sej det ena eller det andra.
I den sista genren kan jag rekommendera:
Arnold Schönbergs "Verklärte Nacht". Nåtslax symfonisk dikt för stor stråkorkester.
Samma kufs "Gurrelieder" Varning dock! Det är en sångcykel för bronto-orkester, men den glider snyggt in i kategori tre ovan...
Vill man skaffa nåt mer lättsmält (lite kortare stycke) så kan man inhandla den gamla H&M referensen:
Howard Hanson / Eastman-Rochester Symphony Orchestra (Mercury Living Presence 2MM 432755, coupled with Symphony No. 3, The Camp Meeting and works by Schuman and Mennin)
Ett av Ives stycken på den plattan illustrerar två marschorkestrar som möts och lirar två olika truddeliteter på samma gång...
H&M menade att stycket ställer stora krav på anläggningens förmåga att återge just komplexiteten. Det skall tydligt gå att särskilja de två melodierna...
Mvh
Strmbrg,
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Per Berger
Member
563 Posts |
Posted - 2002/09/11 : 14:24:47
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Hahaha! Tack för tipsen!
Ledaren i den kammarkör jag varit med i brukade när vi skulle sjunga musik ur kategori 3 referera till stycket "i en cluster-trädgård"...! 
/P
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Strmbrg
bevärlig & besynnerlig hififilosof
1580 Posts |
Posted - 2002/09/11 : 14:28:38
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quote:
Originally posted by Per Berger
Hahaha! Tack för tipsen!
Ledaren i den kammarkör jag varit med i brukade när vi skulle sjunga musik ur kategori 3 referera till stycket "i en cluster-trädgård"...!
/P
Ett enklare stycke, som de flesta apparater torde klara med bravur är John Cages 4:33.
En annan finess med stycket är att det inte stör dammsugaren det allra minsta!
Mvh
Strmbrg,
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Per Berger
Member
563 Posts |
Posted - 2002/09/11 : 14:35:23
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Är det det som är helt tyst i 4:33?? Eller är jag ute och cyklar?
/P
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Strmbrg
bevärlig & besynnerlig hififilosof
1580 Posts |
Posted - 2002/09/11 : 14:39:37
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quote:
Originally posted by Per Berger
Är det det som är helt tyst i 4:33?? Eller är jag ute och cyklar?
/P
Det är en rejält gles komposition, ja. Jag är övertygad om att Mark Levinsons Red Rose-apparater grejar detta stycke med marginal.
"...Med en sjysst inspelning av Cages 4:33 så åker den lilla Red Rose-combon i åttor runt vårt betydligt dyrare referenssystem... ...Imponerande!.."
Mvh
Strmbrg,
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markku
Vänta, jag har en mätning på det här...
934 Posts |
Posted - 2002/09/11 : 15:21:57
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Jag känner till en skiva, där olika artister har lagat remixar av 4:33...
Burde väl beställa den, icke?
Förutom har jag hemma Iannis Xenakis 'La legende d'Eer', kommer inte ens ihåg, hur kompex den måtte vara....
mvh
Markku
What is is, what is not, is possible. - Blixa Bargeld |
Edited by - markku on 2002/09/11 15:25:27 |
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Strmbrg
bevärlig & besynnerlig hififilosof
1580 Posts |
Posted - 2002/09/11 : 15:23:33
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quote:
Originally posted by markku
Jag känner till en skiva, där olika artister har lagat remixar av 4:33...
Burde väl beställa den, icke?
mvh
Markku
What is is, what is not, is possible. - Blixa Bargeld
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Strmbrg
bevärlig & besynnerlig hififilosof
1580 Posts |
Posted - 2002/09/11 : 15:27:27
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quote:
Originally posted by markku
Jag känner till en skiva, där olika artister har lagat remixar av 4:33...
Burde väl beställa den, icke?
mvh
Markku
What is is, what is not, is possible. - Blixa Bargeld
Det skall visst finnas en extended club-mix av skiten, som pågår i närmare en timme!
Sen har vi den senaste "Aid-låten" (för Afghanistans barn) Det är ett hundratal kändisar som står och håller käften tillsammans. Phil Collins spelar naturligtvis inte trummor och Sting sitter och sympatimediterar i ett hörn...
Den skall visst komma på video också. Utan bild.
Strmbrg,
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molsson
Member
1646 Posts |
Posted - 2002/09/11 : 15:28:05
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VArför inte den klassiska Velvet underground klassikern (eller var det lou reed), electric guitar. 
/Marcusoft (som inte kan motstå lite skön rundgång)
"Badgers...BADGERS, I dont need no stinking badgers. |
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markku
Vänta, jag har en mätning på det här...
934 Posts |
Posted - 2002/09/11 : 15:42:57
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Jag hittade recensionen till skivan jag nämnde:
45'18" (9 VERSIONS OF 4'33) (CD compilation by Korm Plastics)
Some time has passed since the first invitations were sent out by Jos Moers (Meeuw Muzak) to join this compilation. Of course I made a track, but that was sadly refused, so now I'm left with the honour of reviewing the results of others. First I would like to point out that the cover is very funny indeed. It's a small poster that folds out, with a photograph on the front and info and texts on the back.
The first track is by Keith Rowe and is called #249, with the liner notes saying: Nature. That is not a lot of information, but the track lasts exactly 4'33. It's a very quiet piece, consisting of one environmental recording, as far as I can tell. The title is somewhat misleading, because the sounds are made by trains and possibly cars, all recorded from a long distance (maybe from an open window?). In a certain sense, this can be seen as a strict interpretation of Cage's ideas.
Track two is by Artificial Memory Trace and is called Close(d) inside me. It clocks in at 8'20 and does not seem to bother with the original score at all. The piece itself is truly beautiful, because of the sounds and the composition. In fact, this piece can be considered as an extension of Cage's ideas into the realm of contemporary electronic music.
Track three is by Thurston Moore and he decided to do a jam session in his studio, together with some friends, that apparently lasted for 4'33. The result is a quite dynamic piece of improv, altenated with some hardcore punk in the second part and mostly silence in the third part. Weird, but very nice indeed.
Track four is by Pauline Oliveros, Deep Listening Band and guests. Their recording is a small part of a longer concert, lasting 4 hours and 33 minutes, intended as a memorial for David Tudor, who premiered the original 4'33. The track is a recording of one of the intermezzo's in the long concert and is an actual performance of the original score by John Cage.
Next up is a track by Jio Shimizu, who cut a vinyl record without spinning it and without actually recording any sound. So the whole track is concentrated in one dot instead of a groove. An excellent conceptual work, of course, albeit one without much sound.
The sixth track is by Voice Crack, called Hoher Kasten, which means something like high box. Electronic and acoustic sounds combine in a pretty quiet piece, with a live atmosphere. Good stuff.
Track seven is by Clive Graham and seems to be an environmental recording, although I wouldn't be able to determine its origins. This is not bad, but I cannot really connect it to the concept of the CD, besides the duration of the piece.
Next is a piece by Toshiya Tsunoda, who stuck to the score as far as timing is concerned. He made recordings at different sites and wrote a long text about the changes of names of villages, towns and neighborhoods in a specific area in Japan. The reference to Cage is not really clear to me, but the track is very much okay.
The last track is by Alignment and they stick to the original score as well. They have recorded 'electronic silence'. They used a mixer, a sampler and a hard drive, all of them without input and then amplified to zero dB. So in the end, there is obviously some sounds to be heard: a loud hiss from the mixer, glitches from the sampler and the sound of a running engine from the hard drive.
The last contribution to this CD is a text by Frans de Waard, explaining why he decided not to submit an audio work for this compilation. And it must be said: his reasons are compelling. Having put forward the idea for this album, I am somewhat disappointed by the result as a whole. I am not sure that this is the result of the selection of tracks listed above or that the idea itself is not such a good one. De Waard has some very relevant thoughts about this. Nevertheless, the material presented on this disc is good enough to exist on its own, so one might decide to simply listen to it and enjoy it for what it is. (MR)
Address: http://www.staalplaat.com
mvh
Markku
What is is, what is not, is possible. - Blixa Bargeld |
Edited by - markku on 2002/09/11 15:44:57 |
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markku
Vänta, jag har en mätning på det här...
934 Posts |
Posted - 2002/09/11 : 21:21:35
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Vill man ha komplex musik, burde man prova Paul Doldens 'L’ivresse de la vitesse (Intoxication By Speed' (empreintes DIGITALes IMED 9917/18).
Läs vad 'The Wire' (09/1998) skrev:
quote:
100 Records That Set the World On Fire, While No One Was Listening
Canadian electroacoustic composer Dolden champions a ‘theory of excess’, a belief that the intoxication and seduction of information overload is a desirable condition, one that frees us to perceive the world afresh. L’lvresse De La Vitesse compiles nine devastating sonic manifestos to make his point. Several hundred painstakingly scored and multitracked solo acoustic instruments collide to produce a super-dense musical black hole that even lannis Xenakis would have shied away from. Trying to actually follow the impossible complexity drags you across the event horizon into a world where consciousness survives but meaning has been obliterated. Futile relief comes on a few tracks where virtuoso soloists battle in vain against the taped chaos Nirvana or nihilism? No matter, you can listen to it a thousand times without wanting it to make sense.
Smakprov hittar man här:
http://www.electrocd.com/cat.e/9917.html
mvh
Markku
What is is, what is not, is possible. - Blixa Bargeld |
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Micke Y
100.000-klubben
7709 Posts |
Posted - 2002/09/12 : 09:35:22
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Jag säger säkert något fult nu men just komplex musik råkar jag gilla, dock av liten annan sort än de Ni nämnt. Band som Dream Theatre, LTE, Fates Warning ligger mig varmt om hjärtat. Komplext, duktiga instrumentalister och intressanta arrangemang (IMHO).
Micke
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