Saturday, May 22, 2010
I sought these out after doing a fair amount of live laptop work in which the performance aspect, when compared to a violinist's or percussionist's movement, was extremely weak — if not completely uninteresting — "Yeah, I play faderbox!" Ha! With the cubes, the audience can see how the sound is being shaped while they hear it... For example, if I strike one side of the cube and then move my hand back, a sound is triggered and then gets quieter and the color of the cube becomes lighter. It's as if one could carry around a computer screen with all the sound wave and volume graphics and then use their hands to shape the sound.
Despite the parlor trick attractiveness, I am astounded by the usefulness of these little cubes and look forward to exploring more ways of playing with them....
Friday, May 21, 2010
In my years as a jazz pianist I'm sure I've played this tune hundreds of times and it's been requested way too often. I can count on the audience singing along, or the mental vinyl spinning the original recording. So I didn't want to obscure the melody. And due to the fact that it's nestled between the quartet from Verdi's Rigoletto and an amazing aria by Monteverdi, it seemed most fitting to take advantage of it's placement...it became a mashup of sorts. The final chord of Verdi's quartet is resampled throughout the piece, as a kind of memory that forces it's way into the sentiment. The bassoon "sings" the famous aria during the trumpet's second statement of the tune. When the bridge hits, the arrangement weasels it's way out of the Verdi and the final recap of the tune is strong and perhaps too bold, with the classic 12/8 piano riff a la 1950 played by the winds and thick arpeggios from the strings. I hope the piece has a kind of humor and richness.... As that seems to be my experience with standards. We mustn't take ourselves too seriously for too long.
Tuesday, May 18, 2010
Sunday, May 16, 2010
Monday, May 3, 2010
Sympho has invented a new performance concept, at once more accessible and visceral than the traditional concert-hall experience. Gone are the barriers separating orchestra from audience. Innovative theatrical techniques borrowed from contemporary theatre – alternative spatial positioning, lighting – help invigorate a concert-hall experience gone musty with tradition.
- ▼ May (6)