The coalface of creation
Hah! I'll translate latin later. Today I'll talk about my music
Responding to Hooverific's comment on "More bike stuff"
I appreciate your comments about my music.
I try to avoid obvious structure.
I try to write "organically". The "bones" are there but I strive not to hide them but to integrate them into a unified whole.
What I want to achieve is musically that reveals itself slowly over the course of it's performance.
One could argue that the length of performance is structure enough and that it's the listener's duty to find music in whatever is presented.
This is nonsense, of course, there is much more to communication of music than just listening to 5 minutes of whatever sounds happen to your ear.
Yes, the music is contained in the noise, but it is the composer's duty to find and make available his own idiosyncratic insights.
Otherwise, who needs him?
Consider all your most inspired music played at once, it would be "noise" but it would still contain all your most inspired music.
Imagine all nine and a half Beethoven symphonies played at once.
The deeper into this unknown I can trick you into following me the better.
I don't remember where I read the comment about "the coalface" but it is a perfect visualization of the creative conundrum. How to make something that has never existed sound like an obvious truth.
It's also similar to being in the crow's nest of a sailing ship searching through the fog for something of significance. Is that a whale? A rock? Another ship? A reef?
Where was I? Oh yeah, structure. There is some buzz on other sites concerning Beethoven's 33 Variations on a theme of Diabelli. The Diabelli waltz is rigidly and obviously structured. Beethoven takes it to the further edge of that structure without actually losing same.
Now we return to the tonic of this post by talking again about MY music.
"Nightmare Prelude" which I have linked for your enjoyment and education, is the first of my "36 variations on a theme of Diabelli" (anything Beethoven can do, I can do more of)
Diabelli's original structure is still there, but it is buried in the melodramatic fullness of the chords.
The gunshots, sirens and screams are not my doing, but I am more than pleased that I could inspire that kind of creative participation.
As long as I have your attention here, I want also to tell you that the piece is modeled on Chopin's prelude. I don't know the opus number, but you should be able to recognise it.
Also, I have to admit that it is a bit of satire, poking fun at the pompous march that opens Ludwig's set.
Foof! Trying to be serious is work!
For other posts about my contretemps with the SSO, search for "Chutzpa" and "Talvi Agoniste". I am interested in your opinions. Have I ever told you about the copyright infraction I claimed again the SSO?
Responding to Hooverific's comment on "More bike stuff"
I appreciate your comments about my music.
I try to avoid obvious structure.
I try to write "organically". The "bones" are there but I strive not to hide them but to integrate them into a unified whole.
What I want to achieve is musically that reveals itself slowly over the course of it's performance.
One could argue that the length of performance is structure enough and that it's the listener's duty to find music in whatever is presented.
This is nonsense, of course, there is much more to communication of music than just listening to 5 minutes of whatever sounds happen to your ear.
Yes, the music is contained in the noise, but it is the composer's duty to find and make available his own idiosyncratic insights.
Otherwise, who needs him?
Consider all your most inspired music played at once, it would be "noise" but it would still contain all your most inspired music.
Imagine all nine and a half Beethoven symphonies played at once.
The deeper into this unknown I can trick you into following me the better.
I don't remember where I read the comment about "the coalface" but it is a perfect visualization of the creative conundrum. How to make something that has never existed sound like an obvious truth.
It's also similar to being in the crow's nest of a sailing ship searching through the fog for something of significance. Is that a whale? A rock? Another ship? A reef?
Where was I? Oh yeah, structure. There is some buzz on other sites concerning Beethoven's 33 Variations on a theme of Diabelli. The Diabelli waltz is rigidly and obviously structured. Beethoven takes it to the further edge of that structure without actually losing same.
Now we return to the tonic of this post by talking again about MY music.
"Nightmare Prelude" which I have linked for your enjoyment and education, is the first of my "36 variations on a theme of Diabelli" (anything Beethoven can do, I can do more of)
Diabelli's original structure is still there, but it is buried in the melodramatic fullness of the chords.
The gunshots, sirens and screams are not my doing, but I am more than pleased that I could inspire that kind of creative participation.
As long as I have your attention here, I want also to tell you that the piece is modeled on Chopin's prelude. I don't know the opus number, but you should be able to recognise it.
Also, I have to admit that it is a bit of satire, poking fun at the pompous march that opens Ludwig's set.
Foof! Trying to be serious is work!
For other posts about my contretemps with the SSO, search for "Chutzpa" and "Talvi Agoniste". I am interested in your opinions. Have I ever told you about the copyright infraction I claimed again the SSO?
posted by Lane Savant at 9:10 AM
8 comments
