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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #439
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Monday, May 21 2001 Volume 03 : Number 439
In this issue:
-
Xu Feng = Cobra ? (Zorn content !!)
Re: ejaculating candleabras
Re: Xu Feng = Cobra ? (Zorn content !!)
Re: ejaculating candleabras
Re: ejaculating organs
Tokyo Operations Cobra
gameboy
Re: Xu Feng = Cobra ? (Zorn content !!)
Re: Tokyo Operations Cobra
Re: Tokyo Operations Cobra
Re: ferneyhough (was:Composer Query)
Re: destroying pianos
Re: Playing inside the piano
Re: Playing inside the piano
ferneyhough
Re: Zorn List Digest V3 #438
Re: destroying pianos
----------------------------------------------------------------------
Date: Sun, 20 May 2001 21:30:20 +0200
From: Rob Allaert <Rob@llaert.NU>
Subject: Xu Feng = Cobra ? (Zorn content !!)
Is it correct to say that Xu Feng is a sort of cobra happening? Are these
game pieces. Is there a reader among us that can somehow explain what goes
on in Xu Feng? Is it recorded live, are signals used, etc ... ?
greetings,
Rob @ risk
np: Aporias - Zorn
- -
------------------------------
Date: Mon, 21 May 2001 12:35:03 -0700
From: Skip Heller <velaires@earthlink.net>
Subject: Re: ejaculating candleabras
>
> On Sun, 20 May 2001, s/Z wrote:
>
>> Which reminds me of the Spike Jones sequence in which a small man is
>> playing a fetus grand piano [What's smaller than a baby grand and
>> larger than a toy grand?] and singing "I'm In The Mood For Love"
>> eventually joined by his very tall 'brother' playing a one-stringed
>> instrument until this white liquid starts spurting from the piano's
>> candleabra and the two musicians begin wrestling each other and
>> falling all over each other falling on the fetus grand covered in
>> white goo.
>
>
> Don't anybody DARE interpret that.
>
>
> ^Z
>
>
>
> -
>
The midget in question was Billy Barty, and, lest you forget, he was done up
as Liberace, whose brother George was frequently namechecked on the Liberace
TV show of the time. Sad, but no iterpretation is mandated.
Freud is no doubt as confused as well, as he probably knew nothing of the
50s Liberace TV show, either.
skip h
- -
------------------------------
Date: Sun, 20 May 2001 21:43:26 +0200
From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <efrendv@yahoo.es>
Subject: Re: Xu Feng = Cobra ? (Zorn content !!)
Hi again Rob! (not much to do on Sunday afternoon, you see)
Xu-Feng is a game piece, as is Cobra. There are signals, as in each of these
compositions, through which Zorn acts as a sorts of conductor. What the
signals are about or how must they be interpreted, I haven't got a clue.
The father of a friend of mine played with Zorn when he was here in
Barcelona presenting "Cobra" and Zorn's signals system consisted on a series
of cardboards by means of which he addressed the players on how they should
improvise or play specific parts. I guess it's about orientations.
Xu-Feng was recorded in studio, but was a live performance, of course.
Someone on the list probably knows what the signals are exactly about.
Best regards,
EfrΘn
- -----Original Message-----
From: Rob Allaert <Rob@llaert.NU>
To: Zornlist <zorn-list@lists.xmission.com>
Date: domingo, 20 de mayo de 2001 21:33
Subject: Xu Feng = Cobra ? (Zorn content !!)
>Is it correct to say that Xu Feng is a sort of cobra happening? Are these
>game pieces. Is there a reader among us that can somehow explain what goes
>on in Xu Feng? Is it recorded live, are signals used, etc ... ?
>
> greetings,
> Rob @ risk
> np: Aporias - Zorn
>
>-
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
- -
------------------------------
Date: Sun, 20 May 2001 19:53:00 -0000
From: "thomas chatterton" <chatterton23@hotmail.com>
Subject: Re: ejaculating candleabras
> > On Sun, 20 May 2001, s/Z wrote:
> >
> >> Which reminds me of the Spike Jones sequence in which a small man is
> >> playing a fetus grand piano [What's smaller than a baby grand and
> >> larger than a toy grand?] and singing "I'm In The Mood For Love"
> >> eventually joined by his very tall 'brother' playing a one-stringed
> >> instrument until this white liquid starts spurting from the piano's
> >> candleabra and the two musicians begin wrestling each other and
> >> falling all over each other falling on the fetus grand covered in
> >> white goo.
> >
> >
> > Don't anybody DARE interpret that.
> >
This is SO obviously a reference to that famous solo exchange between Mingus
and Dolphy...
np: Rautavaara - Piano Concerto 3 - Askhenazy HPO
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
- -
------------------------------
Date: Sun, 20 May 2001 12:55:49 -0700
From: "s/Z" <keith@pfmentum.com>
Subject: Re: ejaculating organs
....and I won't spoil anyone's reading by posting the content,
but the last paragraphs of William Gaddis' _The Recognitions_
takes the destruction to a church pipe organ. To experience
the closing fully, one must read the entire book, so no
cheating out there slackers.
- -
------------------------------
Date: Sun, 20 May 2001 15:56:41 -0400 (EDT)
From: konrad <konrad@panix.com>
Subject: Tokyo Operations Cobra
Hi Efr=E9n,
I'm beginning to understand price to value ratio. But you know, i live in
the SF Bay Area and we have these record stores that literally are the
size of bowling alleys. I think i got the Bloedow/Charles "La Mar
Enfortuna" disk the week it came out, and the Zorn bins are always chocked
full, new as well as used! It's just that i have to look in my wallet too
even when I'm music bingeing.
> I don't know Archery or Pool for a simple reason: I've heard some of Zorn=
's
> early works and they're not my cup of tea at all.
I appreciate a discreet warning. So those, along with LaCrosse (which
cost TWICE as much as Archery for some reason) are all pre-Cobra (1984)
game pieces?
> Cobra is something else. I really think that this is a very remarkable pa=
rt
> of Zorn's work core. The "Tokyo Operations" sound real good. Can't detail
> too much cause I don't own it myself but as far as I can recall, it's wor=
th
> the listen -maybe even more than the "Live at the KF" version. Haven't he=
ard
> the one from Hathut (it'll be re-released in short).
Thanks. Also for the other person asking about Cobra. Take this with a
grain of salt, since i just bought Tokyo Op's and don't know the others.
I would say that if you know traditional Japanese music at all -- kabuki
and puppet theater, geisha songs, court (gagaku) and festival (taiko)
music etc -- this album is a blast. If you don't have that entry to it,
while i would like to hear from others who know this 'game' repertoir, it
appears to be a fascinating application of pastiche structure realized by
an ensemble from another culture than that of the composer. And it's
really well-recorded and on top of that: fun (great Tokyo-accented chicken
clucks and dog howls!)
konrad
^Z
- -
------------------------------
Date: Sun, 20 May 2001 15:57:59 EDT
From: ObviousEye@aol.com
Subject: gameboy
- --part1_4c.1581a551.28397bc7_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
there is a group called Klangstabil who did an album of only gameboy sounds.
ben o.
>>Didn't Alex Empire (from Atari Teenage Riot) also do a CD using nothing but
>>Gameboy sounds?
>>
>>- -Evan
- --part1_4c.1581a551.28397bc7_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>there is a group called Klangstabil who did an album of only gameboy sounds.
<BR>
<BR>ben o.
<BR>
<BR>
<BR>>>Didn't Alex Empire (from Atari Teenage Riot) also do a CD using nothing but
<BR>>>Gameboy sounds?
<BR>>>
<BR>>>- -Evan</FONT></HTML>
- --part1_4c.1581a551.28397bc7_boundary--
- -
------------------------------
Date: Sun, 20 May 2001 22:00:57 +0200
From: Rob Allaert <Rob@llaert.NU>
Subject: Re: Xu Feng = Cobra ? (Zorn content !!)
Thanks Efren,
I've heard some about the signals and so, but was particularly =
interested=20
in the Xu Feng elements since reading the "liner notes", you know under=20=
the transparent tray. (no, not the hidden picture).
Anyone knows more about the "hows" of Xu Feng ?
Efr=E9n wrote:
> Xu-Feng is a game piece, as is Cobra.
greetings,
Rob @ risk
> np: Watchman _ Friedlander
- -
------------------------------
Date: Sun, 20 May 2001 22:03:46 +0200
From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <efrendv@yahoo.es>
Subject: Re: Tokyo Operations Cobra
Hi Konrad!
Lucky enough to have those stores over there!
> I don't know Archery or Pool for a simple reason: I've heard some of
Zorn's
> early works and they're not my cup of tea at all.
I appreciate a discreet warning. So those, along with LaCrosse (which
cost TWICE as much as Archery for some reason) are all pre-Cobra (1984)
game pieces?
Yes they are: "Pool" and "Archery" both from '81. I don't know about
Lacrosse. Maybe you can doublecheck with Patrice L. Roussel's extremely
detailed discographies.
> Cobra is something else. I really think that this is a very remarkable
part
> of Zorn's work core. The "Tokyo Operations" sound real good. Can't detail
> too much cause I don't own it myself but as far as I can recall, it's
worth
> the listen -maybe even more than the "Live at the KF" version. Haven't
heard
> the one from Hathut (it'll be re-released in short).
Thanks. Also for the other person asking about Cobra. Take this with a
grain of salt, since i just bought Tokyo Op's and don't know the others.
I would say that if you know traditional Japanese music at all -- kabuki
and puppet theater, geisha songs, court (gagaku) and festival (taiko)
music etc -- this album is a blast. If you don't have that entry to it,
while i would like to hear from others who know this 'game' repertoir, it
appears to be a fascinating application of pastiche structure realized by
an ensemble from another culture than that of the composer. And it's
really well-recorded and on top of that: fun (great Tokyo-accented chicken
clucks and dog howls!)
Sure, I just know Gagaku in Japanese folklore and it's funny to hear a
shamishen, for instance, under such critical conditions!!!
Regards,
EfrΘn
konrad
^Z
- -
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
- -
------------------------------
Date: Sun, 20 May 2001 16:22:40 -0400 (EDT)
From: konrad <konrad@panix.com>
Subject: Re: Tokyo Operations Cobra
Efr=E9n del Valle wrote:
> Lucky enough to have those stores over there!
Yes, but why am i sitting here at the computer on a day like this!
> Sure, I just know Gagaku in Japanese folklore and it's funny to hear a
> shamishen, for instance, under such critical conditions!!!
For people who know that Cobra but not shamisen music, i'll tell you the
shamisen players can go nuts without Zorn's musical direction. There is,
i think i've got this right, a style from the North (around Hokkaido) that
is extremely fast Shamisen duets, and that music along with Taiko
(drumming), already has that built-in shouting by the musicians, though it
doesn't approach the caterwauling/vomiting sounds on this disk in
question. For those who don't know a shamisen is a kind of Japanese
banjo.
konrad
^Z
- -
------------------------------
Date: Sun, 20 May 2001 18:33:25 -0500
From: sergio luque <sergioluque@mac.com>
Subject: Re: ferneyhough (was:Composer Query)
el 20/5/01 11:13, thomas chatterton en chatterton23@hotmail.com escribi=F3:
> Anyone on the list familiar with the English composer Brian Ferneyhough?
> Apparently he is considered to be a 'maximalist', as opposed to a
> 'minimalist'.
=20
i thought that maximalism was some kind of minimalism, as in glass' operas:
i remember that a book on minimalism, edited by phaidon, had a chapter on
maximalism: not that this means anything ;-)
_brian_ferneyhough_:
- - from the preface to _cassandra's dream song_: 'the notation does not
represent the result required: it is the attempt to realize the written
specifications in practice which is designed to produce the desired (but
unnotable) sound quality. a "beautiful", cultivated performance is not to b=
e
aimed at... nevertheless, a valid realization will only result from a
rigorous attempt to reproduce as many of the textural details as possible:
such divergencies and "impurities" as then follow from the natural
limitations of the instrument itself may be taken to be the intentions of
the composer.' [the density of instructions] 'often stops performers
"remembering" too far ahead, and leaves them in a constant state of
"surprise attack", as the horizon of memory closes around them.'
- - 'music is not dead material, nor yet abstract form. still less is it
meaningless maneuvering in an uncaring, arbitrary void. the idea of the
figure seen as a constructive and purposive reformulation of the gesture
should clear the path for aura, the visionary ideal of a work entering into
conversation with the listener _as it were another aware subject_'
- - ferneyhough has been interested in schoenberg. also, he is interested in
varese and feldman: he admires the way feldman alters the flow of time in
the perception of the listener through "simple" musical objects: ferneyhoug=
h
tries to do the same but with the complexest objects possible.
- - his most recent works are: _opus contra natura_ for piano; _shadowtime_ a=
n
opera based on the dead of walter benjamin (to be premiered on 2002).
- - his scores are the scariest things!
- - now, just for fun, some of my favorite instructions from the score of
_time and motion study ii_ for cello and electronics (aka _electric chair
music_):
=20
- excessively mannered
- violent but reserved, coldly inscrutable
- schizophrenic: left hand hysterical
right hand as though sleepwalking
- sharp-edged (like over-exposed negative)
- very (homicidally) aggressive
- with bravura: rather self-important, even "operatic" in gesture
- more spacious; fastidiously detailed. in general, overly repressed an=
d
introverted.
- tense, highly strung. all details "larger than life" (as if isolated
in cabaret spotlight).
- spluttering, brilliant: like a high voltage jumping between terminals
- ffff sempre (but always trying to get louder!)
- violent, jerky actions: like muscular spasms
- with the utmost imaginable degree of violence
- - fwiw, i've been told that many of his closest students are into zorn.
recommended cds:
_brian_ferneyhough_solo_works_: (this one contains, among lotta good stuff,
_time and motion study ii_ for cello and electronics)
elision
etcetera ktc 1206 (1998)
_brian_ferneyhough_
brenda mitchell, harrie starreveld, armand angster, irvine arditti, nieuw
ensemble=20
etcetera records ktc 1070 (1989)
_brian_ferneyhough_2_
brenda mitchell, magnus andersson, irvine arditt, stefano scodanibbio,
arditti string quartet,asko ensemble
auvidis montaigne mo 782029 (1996)
=20
- --=20
sergio
sergioluque@mac.com
mexico city
- -
------------------------------
Date: Sun, 20 May 2001 20:05:32 -0700
From: Tosh <tosh@loop.com>
Subject: Re: destroying pianos
Not really destroying pianos, but the book I am publishing, Boris Vian's
L'=E9cume des jours (Foam of the Daze) there is a piano that makes cocktails
as well as music.
- --=20
Tosh Berman
TamTam Books
http://www.tamtambooks.com
>=20
>=20
- -
------------------------------
Date: Sun, 20 May 2001 23:58:27 EDT
From: DvdBelkin@aol.com
Subject: Re: Playing inside the piano
In a message dated 5/19/01 3:20:43 PM Eastern Daylight Time,
velaires@earthlink.net writes:
> -- my personal favorite --throwing the top off, jumping into
> the piano, stomping all over the strings, squirting lighter fluid in there,
> and igniting it. It's how Jerry Lee lewis dealt with the issue of
> having to go on before Chuck Berry in 1957.
>
> Now THAT'S avant-garde prepared piano at its most primal.
Jerry Lee must have mellowed out by 1971. I saw him open for Chuck Berry at
Carnegie Hall that year, and sad to say he left his lighter fluid at home.
skip wrote:
> which reminds me of that marx brothers movie
There's also that early Laurel and Hardy short where they're delivering a
large upright piano to a house at the top of a very steep hill... It's one
of those classic slowly mounting deadpan insanity things of theirs. I can't
remember how many times they ended up pushing it out the window and chasing
after it as it carreened back down the hill. By the end it was in perhaps
even worse shape than the upright Dave Burrell played (brilliantly) at the
Tribes Gallery yesterday.
David
np: John Tilbury and Evan Parker, Two Chapters and an Epilogue
- -
------------------------------
Date: Mon, 21 May 2001 21:05:42 -0700
From: Skip Heller <velaires@earthlink.net>
Subject: Re: Playing inside the piano
>
> There's also that early Laurel and Hardy short where they're delivering a
> large upright piano to a house at the top of a very steep hill... It's one
> of those classic slowly mounting deadpan insanity things of theirs. I can't
> remember how many times they ended up pushing it out the window and chasing
> after it as it carreened back down the hill. By the end it was in perhaps
> even worse shape than the upright Dave Burrell played (brilliantly) at the
> Tribes Gallery yesterday.
>
> David
>
> np: John Tilbury and Evan Parker, Two Chapters and an Epilogue
>
> -
>
I used to live on the very street -- Micheltorena and Sunset -- from where
the piano scene was filmed.
skip h
- -
------------------------------
Date: Mon, 21 May 2001 00:07:08 EDT
From: Acousticlv@aol.com
Subject: ferneyhough
In a message dated 5/20/01 12:29:36 PM,
owner-zorn-list-digest@lists.xmission.com writes:
<< Anyone on the list familiar with the English composer Brian Ferneyhough?
Apparently he is considered to be a 'maximalist', as opposed to a
'minimalist'. I'm intrigued, but it would appear that his work is not
readily available here... >>
like him much but at the moment unsure how to describe.
now i have to listen again... arggh :)
i have a cd of his sq done by arditti on disque montaigne MO 789002,
distrib usa from harmonia mundi.
i have an LP of his stuff on rca uk.
also others on collections, one on erato LP possibly silvered too.
i will check, but i think i covered some of his concerts in laFolia.com.
will report when i can re-listen.,
regards
steve koenig
n.p.: tom waits concert bootlegs
- -
------------------------------
Date: Mon, 21 May 2001 00:07:16 EDT
From: Acousticlv@aol.com
Subject: Re: Zorn List Digest V3 #438
In a message dated 5/20/01 12:29:36 PM,
owner-zorn-list-digest@lists.xmission.com writes:
<< Anyone on the list familiar with the English composer Brian Ferneyhough?
Apparently he is considered to be a 'maximalist', as opposed to a
'minimalist'. I'm intrigued, but it would appear that his work is not
readily available here... >>
- -
------------------------------
Date: Mon, 21 May 2001 06:48:06 -0500
From: Herb Levy <herb@eskimo.com>
Subject: Re: destroying pianos
>
>skip wrote:
><Let us not forget talking inside a piano -- a technique employed on
>Zappa's
>LUMPY GRAVY, or -- my personal favorite --throwing the top off, jumping
>into
>the piano, stomping all over the strings, squirting lighter fluid in there,
>and igniting it.>
Like playing inside the piano, a lot of this was done in the
"classical" world first.
Using pianos with their sustain pedals down as resonators for other
instruments and voice is not uncommon in composed music throughout
the 1960s and later.
In the 1960s too, Annea Lockwood started a series of "Piano
Transplants" in which pianos were burned, buried, submerged in lakes,
etc. Some of the buried/submerged ones are still out there. If you
have access to a good academic library, you might be able to find
pictures of some of these in the magazine Source.
There's a real nice zipping kind of sound as the taut strings get
hotter until they snap.
And there're the various Fluxus abuses of instruments of all sorts
from back then as well.
- --
Herb Levy
P O Box 9369 Forth Wort, TX 76147
817 377-2983
herb@eskimo.com
- -
------------------------------
End of Zorn List Digest V3 #439
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