Our dog Miles and cat Eddie made the drive with us hauling a trailer with a Jeep Wrangler. If you have a choice, don't do this. Your Jeep will only make top speeds of 65 while flooring the gas.
We are staying with family for the next three weeks and getting ready for the HUGE MOVE.
Top 50 Tuesday pieces 35-31. As always audio at the bottom.
My love for this piece has to do with Druckman's use of gesture and orchestration. His is a brilliant orchestrator and uses the orchestra to its fullest potential. His gestures are dynamic and morph from timbre to timbre seamlessly. There is a moment coming from a flutter tongued bass clarinet transferring to trumpet that is absolutely gorgeous.
I also love this piece because I did a presentation on it - my first graduate presentation on a piece of music for composition seminar. I love the concept. The windows (to the past) aren't quotes from other pieces or time periods. They are memories of dreams about that music. They are non-specific but they immediately recall the feeling of that music without recalling a specific piece of music.
It seems a little cliche to talk about the architecture of a piece when you are talking about Xenakis but, to be perfectly honest - the reason I love this piece is due to its structure/form/architecture. Xenakis's music has form and structure like no one else that is aurally apparent. John Cage's music is the only other composer that I think has pieces that project its form into the sound world and the form/structure serves as one of the more interesting aspects of the piece. Plus - this is heavy metal for percussion solo - absolutely intense for the majority of the time.
Again - love from studying for a paper. The fifth movement is incredibly gorgeous and lyrical from a composer that inspired John Cage and Morton Feldman to to appreciate sounds for themselves and his music is often described as pointillistic.
I can't remember the paper but I know I was looking at intervallic transformations and connections of Webern's hexachords by examining each set's interval vector. FASCINATING!...right?
This piece is slightly a guilty pleasure of mine. Tchaikovsky was my first favorite composer back in high school. The 1812 Overture was the first piece I ever performed with an orchestra. The 4th symphony was my JAM for a long time. But, as one does, I kind of grew out of Tchaikovsky's melodies and dramatic moments. However, there is a hook in this piece's first movement that I just can't get away from. Two minutes into the first movement - the flute line. And when it comes back fully orchestrated later on in the piece. Oh man. It pulls on my heart strings. That and the 3rd movement cymbal crashes are epic (i played that part when BGSU performed this). AND the waltz in 5 is superb. In short, this piece is awesome for any one of the above reasons.
(piano and string quartet)
Just like Feldman's second string quartet, I love the scale of this piece. Listening to it is calming and so wonderful. It is music that I can always put on and absorb. It seeps into your skin. You aren't conscious of the music as it progresses. You feel it.