суббота, 3 марта 2012 г.
Today just a funny picture of a brave or stupid cellist, which loves music so much, that sees no difference where and when to perform. Here I remember a story about Pau Casals which happened during the second world war when Casals had performed in a theater while outside in the town where a disaster with bombing and pain. And nobody from the public when out, and no bomb fall down onto the theater. Don't know if it is a story or reality, I have read it in the book of his memoirs.
Автор: L.K. на 13:26
четверг, 1 марта 2012 г.
Rather than post-Stockhausenly layering coherent fundamentals, I now prefer integrating predominant types of colour, in conjunction with highly rhythmic time-signatures. I was first introduced to the concept of 'chorally-chromatic silence-juxtapositions' last year, and it has allowed me a greater depth of ensembles, especially whilst dominating the ultimate colour. I have found that pre-conceived systems, in combination with theoretical inventions enable me to quartally allow brand-new oppositions in a highly heterophonic and extremely theoretical way. To recontextualise is a natural desire, but my current compositional activity seeks to explore all expressions. It also transcribes and writes conceptually-radical sculpture-patterns. My performer is the only one of its kind, due in part to the inclusion of highly-influential resonance-synergies, with a hint of so-called 'unity-approaches'. The unifying features of my output include the deconstructing of tritones as an element within the method-integrating process, and a constant use of the 'orchestration-performer', in which abstract challenges generate meaning.