Sonic Diet

WMSE DJ Jason Wietlispach and Radio Preimeres: POSTCAGE [4 Radio Premieres] Beardsley, Ashby, Rawicz, Prokop

David Beardsley

words by Jason Wietlispach

Fifteen POSTCAGE works will be released in the fall on a two-hour 96kHz|24bit audio DVD named POSTCAGE.

You can listen to four of these works during their radio premieres on Modern Chamber, hosted by Jason Wietlispach, this Sunday.

Either visit http://wmse.org/djs/jason.​php from 5 p.m. to 6 p.m. EDT on July 31st and click ‘Listen Live’ or click one of the below four links.

http://www.wmse.org/wmse.a​sx
http://www.wmse.org/wmse12​8kMP3.pls
http://www.wmse.org/wmse12​8kaac.pls
http://www.wmse.org/wmse48​kaacPlus.pls

1) David Beardsley: “November Test Pattern”, the ecstasy of electric trees weeping in the twilight including recumbent bright insects and relevant footnotes (2009) for just intonation sine tones [10:00]
David Beardsley

13 limit overtone and undertone just intonation drone. It’s not going anywhere because it’s already there.

2) Arved Ashby: “For Morton Feldman” (1992) for violin, piano and glockenspiel [5:17]
Christina Fong, Arved Ashby, Glenn Freeman

When I wrote “For Morton Feldman”, I was obsessed with this composer’s work. The strictly musical fascination has worn off a bit: I now think Feldman was less about specific musical works than about establishing an infectious kind of aural landscape, a highly original musical facture. In any event, “For Morton Feldman” pays curious homage in that it demonstrates a creative (re)hearing of Feldman’s style. My piece is an idiosyncratic rendition of the kind of floating, shifting patterns Feldman used in his later works like “Piano and String Quartet” (1985). In retrospect, I now see that For Morton Feldman is non-Feldmanesque in its fairly strict layerings, each instrument independently evolving its own pattern, shifting gradually away and – almost, not quite – coming back together as a kind of climax toward the end. But the Feldman sound – the inner landscape, to use one of his own favorite metaphors – is there, and there’s plenty of musical affection to be heard in this slow, kaleidoscopic shuffling and reshuffling of sounds.

3-6) Sebastian Jatz Rawicz: “4 Recipes from Antimusical Book of Recipes” (2010)
http://arsomnis.com/artesm​usicales/recetario-antimus​ical
Chance Operations Collective of Kalamazoo
3) IV. Electronic Antimusic [2:30]
4) XIV. Antimusic of the Spheres [2:30]
5) XXI. Disco Antimusic [2:30]
6) XXIX. Merengue Antimusic [2:30]

A continuation on the quest for a plausible antimusic through a series of brief instructions exploring instrumentation, leaving most other parameters to the performer’s choice. All titles come from wordplay on accepted types of music.

7) John Prokop: for 1 or 7 pianists (1997) [6:49]
Paul Hersey

So I thought, what if I took something as banal and ordinary as an ascending chromatic scale, distort its predictability by shifting the next note to a different octave, play each key once (if played as a solo) or have it played by 7 pianists as if they were on their own; what would happen?

Tune into 91.7 FM WMSE on Sunday, July 31st from  5:00pm – 6:00pm for the premiere of ‘POSTCAGE’ featuring Beardsley, Ashby, Rawicz and Prokop on The Modern Chamber [Sundays on WMSE: 3 p.m. – 6 p.m.].

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This entry was published on July 29, 2011 at 5:41 pm. It’s filed under General and tagged , , , , , , , . Bookmark the permalink. Follow any comments here with the RSS feed for this post.

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