Thursdays blog is a tardy child
What's there to say about Thursday that you haven't heard before?
Bus, Ladro, library, no show at city hall. Seattle Central, David Mesler, the violin concerto, et al
Friday, however, ah yes Friday.
Bus, Ladro (croissant instead of peanut butter cookie) city hall for the lunch time concert.
A few of the inmates of the Gulag Arpeggio managed to climb over the fence and escape the frigid atmosphere of the moral vacuum at Second and University to play an hour of Mozart for the huddled masses.
It was good to hear Little Joe's very first symphony, written when he was eight, and be able to compare it with his penultimate, the fortieth.
Some consider comparisons odious, but I find them to be revealing. Hearing the first symphony by itself, one is likely to merely enjoy it more or less unquestioningly.
Same with the fortieth.
Together, however they demonstrate the meaning of words like depth, sophistication,
and a lot of other words I can't seem to come up with right at the moment.
Also, they played the third violin concerto with Quinton Morris.
I probably shouldn't (why is there an "L" in shouldn't) have to mention this, but they opened with Eine kleine Nachtmusik.
Of course they did.
E.K.N has the artistic staying power of a sunrise.
Then I went home fooled around a bit on my next concerto for wooden train whistle and strings right hand.
Then went to the salon, where Matthew Weiss and Alan Sharp did a superb job playing my violin duet. "Far.Cry.Blue."
Even listening as critically and as sensitively as I could, anticipating disaster at every moment, I enjoyed it both as composer and as audience.
I screwed up my intro joke, another missed opportunity to start a career as stand up comic.
Here it is.
You can view "America's music" as Dvorak copied out by Nadia Boulanger students.
Or you can say it's Steven Foster to slave chant to blues to jazz to Rock.
The latter of which actually makes money (not always for the right people)
I believe I have achieved a synthesis in this piece inasmuch as it is American music
and it is unlikely to make any money.
I actually got a few knowing chuckles out of it.
Tom has promised a recording which I will post asap.
Tonight it's Pagliacci
Bus, Ladro, library, no show at city hall. Seattle Central, David Mesler, the violin concerto, et al
Friday, however, ah yes Friday.
Bus, Ladro (croissant instead of peanut butter cookie) city hall for the lunch time concert.
A few of the inmates of the Gulag Arpeggio managed to climb over the fence and escape the frigid atmosphere of the moral vacuum at Second and University to play an hour of Mozart for the huddled masses.
It was good to hear Little Joe's very first symphony, written when he was eight, and be able to compare it with his penultimate, the fortieth.
Some consider comparisons odious, but I find them to be revealing. Hearing the first symphony by itself, one is likely to merely enjoy it more or less unquestioningly.
Same with the fortieth.
Together, however they demonstrate the meaning of words like depth, sophistication,
and a lot of other words I can't seem to come up with right at the moment.
Also, they played the third violin concerto with Quinton Morris.
I probably shouldn't (why is there an "L" in shouldn't) have to mention this, but they opened with Eine kleine Nachtmusik.
Of course they did.
E.K.N has the artistic staying power of a sunrise.
Then I went home fooled around a bit on my next concerto for wooden train whistle and strings right hand.
Then went to the salon, where Matthew Weiss and Alan Sharp did a superb job playing my violin duet. "Far.Cry.Blue."
Even listening as critically and as sensitively as I could, anticipating disaster at every moment, I enjoyed it both as composer and as audience.
I screwed up my intro joke, another missed opportunity to start a career as stand up comic.
Here it is.
You can view "America's music" as Dvorak copied out by Nadia Boulanger students.
Or you can say it's Steven Foster to slave chant to blues to jazz to Rock.
The latter of which actually makes money (not always for the right people)
I believe I have achieved a synthesis in this piece inasmuch as it is American music
and it is unlikely to make any money.
I actually got a few knowing chuckles out of it.
Tom has promised a recording which I will post asap.
Tonight it's Pagliacci
Labels: Gulag Arpeggio
