Musical Weekend

Saturday was for the Rainier Symphony. They did a wonderful job on the Brahms 3rd Symphony. A difficult work.
It was quite revealing to hear it played in the intimate IKEA hall in Renton, WA.
Being close to the orchestra allows one to hear more of the intricate detail. I usually think of Brahms as a nice warm blanket, but, up close and live it has much more going on internally.
The Rainier is an all volunteer orchestra.
They are presently having a fund drive. They are looking for 75 grand. one of the things they want to do is hire a "consultant" for "development" that brings chills.
Anyway more power to 'em
Hey! Joshua Bell was just awarded 75 grand! (*)
I like to see things that aren't and say "Why Not"
So, Sunday. Poncho theater at Cornish. (John Cage and others)
The Seattle Chamber Players. A quartet of excellent musicians.
Season Preview Concert. A potpourri of pieces from around the world. No Cello this time, but various duets for piano & violin, flute & tape, clarinet & piano, violin & portable tape recorder, alto flute & guitar, clarinet & tape.
Loved it all! Yes I did.
Especially Paul Taub's flute.
But.
It seems to me that a lot of new music is based on a sort of hypnotic appeal.
Tape pieces are often "noise" assemblies that provide a background of infinitly deep sound over which the lead instrument plays without interacting. Individual against environment so to speak. Attitude vs message. Alone in a universe not of our making. Who knows?
No tunes.
Is writing a melody really that hard, or is it just too revealing for a composer to declare "This Is A Melody and I expect you to see what I really mean by it"?
Are we all becoming cast adrift in the space between ourselves and the noise of the world we live in?
Afraid of our vulnurability
This is getting heavy, I feel a giggle coming on.
The modern day composer wants your love.
I mean what's wrong with a little sentiment, anyway?

O.K. Monday.
Monday is composition class w/ David Paul Mesler @ Seattle Central Community College
We discuss melody, tunes, songs.
What distingushes a melody from a random string of notes?
Why do things like Greensleeves or Amazing Grace or other lines have such a deep impact?
What is the psychological connection that makes these noises different?
How do you write one?
What would you do with the royalties from "Yesterday"?
Writing a good tune is even harder than finding a name for a piece.
At least it is for me.
Anyway, listen to Stardust some time and tell me how it manages to be such a lovely tune and at the same time be so totally, noodly, random.

(*) J. Bell also has about thirty two dollars he can't have too much use for.