The Inner Workings of Elixir No. 10 – Provisions
The idea here was to build a machine, something concretely mechanized or industrial even. The mode of achieving this was through specialized notes moving away from each other at equal intervals with adjusting patterns. However, to give the piano its mechanized, semi-engine sound, I added a fast and steady low register which completes the engine. The upper register at the end can vary from player to player. As long as it is played at the designated starting spot, the accompanying pianist may play the notes indicated at any time and at any noise level. So you might ponder, what is this machine used for? That is a mystery to be unveiled with the release of the CD on June 9, 2008.
Performance Instructions for Elixir No. 7, “The Saxman Asshat”
The pianist plays as usual, however very discretely, not calling any unusual attention to himself/herself. To the side of the piano, ranging from one to two feet any man or woman dressed preferably in a black suit will hold a saxophone up to their mouth. Upon every note struck on the piano, the saxophone performer will not play one note, but pretend to play each note with exaggerated movement, preferably up and down and side to side motions. The saxophone performer will not be given any sheet music, because not anticipating the timing of the notes from the piano will give the saxophone a desired delayed reaction in the movement. That is it, once the performance is finished, the saxophone performer will bow and exit the stage.
A Minimalist Experience
A boring Sunday, really not so much different than any other Sunday. March 16, 2008, I went for a drive to run some miscellaneous errands. My wife informed me that we were in some need of household items which could be purchased at the nearest store. So heading to the store on this boring Sunday, I am ever increasingly slipping slowly, steadily, into a trance state while driving. I am sure it was not unsafe, and I believe there is a name for it. Highway hypnosis. The condition where you arrive at your destination while not recalling much of the way there. I remember arriving at the store that boring Sunday and noticing the parking lot was quite full. This pulled me out of my trance to an irritating degree. Not finding one parking spot, my wife decided to run in and get the couple of items and I would simply drive around the parking lot until she made her way back outside. So I started driving steadily, cautiously through the parking lot which went in a round about. The first loop I was concerned with looking out for other cars, but I have to say by the time I made it to my second lap I was really feeling the track, memorizing all the angles. By the time I hit the third lap I was steering around vehicles and halting with expert dexterity for crossing traffic through the parking lot, the track. I can’t remember what lap I was on when my cell phone rang and woke me up from my hypnotic state. It was my wife wondering why I kept driving past her, waiting outside the front of the store.
“Charmed Elixirs” Adds Two More
Elixir No. 8 – Lady’s Mantle: The first adagio work (possibly only) of the series.
Elixir No. 9 – Antihero Beaker: The necessary item to carry out this experiment! 20 seconds of mixing.
The Amaranth Solution: Classical v Classical
“Classical” The meaning of this word pertaining to music obviously is defined as a musical form. So what is this meaning? Ask any average guy and he would probably say “like what Mozart and Beethoven composed.” Hey, he would be absolutely correct. I mean, there was an age long ago termed the “classical period.” This period was defined not only within music, but paintings, architecture, poetry, etc.
So if you ask the average “Joe” what contemporary classical is, he might scratch his head, confused. I mean, most likely. And that’s the problem. Is rock a period? Is jazz a period (I know about the age, but we’re talking music)? The term “classical” is a definite problem. It links the past to the present under false pretenses. Imagine Philip Glass or Steve Reich being asked “what genre of music to you compose for?” They answer “impressionism.” That is if we swap out the word classical in favor of the word impressionism, both a period so would it matter?
Does the use of the word classical as a blanket definition of all eras of this form in turn form a bias within academia and elitists? Meaning, to pick classical as the word might say to some that the era of classical itself is the most relevant to every genre. Here in Seattle our main “classical” station rarely strays, or some might say deviates, from the baroque, classical and romantic eras. I would bet that to be the case for every metropolitan city around the world.
Do you want a solution? Take out “classical” as the definition of all periods in aforementioned music and replace with “amaranth.” An unfading flower.
I compose amaranth music. I compose amaranth music in a contemporary style.
Upcoming CD “Charmed Elixirs” adds No. 6 – Valerian
The sixth in this series of piano works is a minimalesque piece with hypnotic properties and a steady percussive nature. You may find it here: myspace
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