Archivi categoria: Musica

Pfhat

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Pfhat (1974) di Giacinto Scelsi.

Si tratta di un brano nel più puro stile Scelsi in cui varie sonorità evolvono da un unico suono iniziale. L’organico è una formazione orchestrale modificata, che include piano, coro, organo e sei percussionisti, ma esclude totalmente i violini.

Pfhat was premiered by Jurg Wyttenbach and the Hessian Radio Orchestra in Frankfurt on February 6th, 1986. It is in four movements, totaling under nine minutes. The subtitle reads: “A flash… and the sky opened!” and the title is apparently chosen for its onomatopoeic quality. This is an extremely concise depiction of mystical revelation for full orchestra, divided into four brief movements each of which presents a single gesture in sound.
The first movement is based on the choir’s breathing sounds, supported by only thirteen instruments. Here we have the emergence of sound from immobility, leading into an ‘om’-ing from the tubas, and anticipating the upcoming surge of power. The very short second movement consists of a sudden ringing cluster for full orchestra and chorus, gradually fading away. The slow third movement begins with a quiet fanfare punctuated by ringing intervals, and gradually builds with the om-ing and sighing of the chorus into a large complex of sound elaborating a single note. The eerie fourth movement presents us with revelation from the open sky: the piccolo, flute, celesta, piano and organ play a very high ostinato on a semi-tone while the rest of the orchestra and chorus quickly ring high-pitched dinner bells. The glittering, crystalline and static sound is certainly unique in the symphonic literature. This work (and the last movement in particular!) is Scelsi’s most singular attempt at ushering the listener into his sound universe. The succession of movements is highly dramatic, and listening to Pfhat for the first time is certain to be one of one’s most intense listening experiences.
[Todd McComb in Classical Net]

Cecil Taylor live

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Un video live di uno dei non molti jazzisti che mi piacciono. Cecil Taylor live in Monaco nel 1984, in 5 parti. Come al solito metto la prima e i link alle seguenti.

È incredibile come, pur creando delle strutture informali, Cecil Taylor resti così legato al blues, che traspare in tutta la sua musica, compresi gli urletti. Vi segnalo anche quest’altro video in cui Taylor parla della propria poetica (tnx Cristina).

Stand by Me around the world

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What happens when you take Ben King’s 1961 hit, Stand By Me, and then travel around the world, having different international artists offer their own interpretations, and finally you stitch them all together in one seamless tune?  The clip below starts in California, moves to New Orleans, then heads off to Amsterdam, France, Brazil, Moscow, Venezuala, South Africa and beyond. And I’m willing to bet that you’ll like how it turns out.  The clip comes from the documentary, ”Playing For Change: Peace Through Music.”

Via Open Culture

Ubeboet

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coverSearching the old releases from Test Tube, I found this EP by Ubeboet, a sound artist based in Madrid involved in electronic/experimental music since mid 90’s. This work, titled Bleak EP, is dated 2004.

Bleak EP, by Ubeboet, is one of those kind of releases that lives on lasting relationships and on constant reintegration processes, achieving ‘that’ multidimensionality (big word) typical of the acoustic universe, giving so much freedom to the listener, that he (or she) will diminish or amplify the particular singularities of the sound particles that go in and out of the brain.
This work could be very easily integrated into the art of installationism, although never leaving the ‘soundscape’ genre. A constant struggle to arrive (or at least try to) an ideal of ‘musique concrète’. Holding itself to the capturing of sound landscapes, submitting them to a low-frequency treatment, Ubeboet breathes a comforting ‘less is more’ ambient, (re)created and integrated into unhabited sound habitats, or sometimes directly injected into the overcrowded urban territory. Ubeboet rests in the complex world of the ‘anti-fast listening’, where the perception and the raw and naked power of the music are intimately connected. A not-easy, not-clear and not-resolved world, into which we are forced to submerge and seek for the unknown. Highly recommended.
[Bruno Barros]

Two excerpts

Dowload the whole EP here.

Webern dirige Schubert

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In questa registrazione del 1932, Anton Webern dirige le Deutscher Tanz op. 33 di Schubert, da lui stesso orchestrate.

Franz Schubert: Historical Recordings (1932, 1940)
Conductor: Anton Webern
Orchestra: Berlin Radio Orchestra

David Fungi

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coverQualche novità dalla netlabel test tube. Per una volta c’è un italiano.

David Fungi, from Varese, Italy, is clearly inspired by nature. Field recordings pop up from the initial sounds of “aal_sentieri”, blended with synthetic and metallic electronic sounds which produce the kind of ambience one might recognize from William Basinski. It is this razor edge that defines the strong personality of this recording. Even though “Aal_sentieri” is ambient music, it is also restless, menacing, provokes the listener and gives him a sense of travelling through a mysterious and dark forest. As the piece unfolds through its 23 minutes, the sound layering becomes more complex, while one can only guess the origin of the animal noises underneath. When the path comes to an end, a climax appears in the last 4 minutes, first with a burst of industrial noise and finally an orchestral and cinematic climax, finishing the track. “aal_sentieri” leaves the listener in the company of silence, which in a strange kind of way almost works as a reverberation of the track.  It is not easy to capture one’s imagination like this, but David Fungi has that skill to mix disparate sounds in a coherent manner, making “aal_sentieri” a fine and peculiar release.»
[César A. Laia]

L’album è liberamente scaricabile qui.

Ligeti – Bernstein

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Da un vinile del 1965 ormai fuori catalogo, Leonard Bernstein Conducts Music of Our Time, Bernstein dirige la New York Philharmonic in Atmosphères di Gyorgy Ligeti, un brano di cui abbiamo già parlato qualche tempo fa, ma che è sempre emozionante riascoltare.

La direzione di Bernstein è sorprendentemente chiara, ma quello che mi ha sconvolto è che è altrettanto sorprendentemente breve. Solo 6’30” contro i circa 8’30” di altre esecuzioni. Due minuti di differenza sono tanti, così ho tirato fuori la partitura. Il calcolo della durata totale non è immediato perché il tempo cambia spesso da 40 a 60 alla semiminima, ma un po’ di conti mi danno come risultato 8’34”.

Così ho confrontato i file audio dell’esecuzione di Bernstein e  di quella di Nott usando Audacity e il risultato è questo. Sopra Nott e sotto Bernstein (click per allargare):

confronto

Come vedete l’esecuzione di Bernstein è temporalmente compressa, oltre ad essere dinamicamente più alta. Sembra che vada all’incirca il 25% più veloce. Qui sotto le due esecuzioni

Gyorgy Ligeti – Atmosphères