music clip of the day

jazz/blues/rock/classical/gospel/more

Category: celesta

Wednesday, September 14th

more

Morton Feldman (1926-1987, MCOTD Hall of Fame), For Philip Guston (1984); Either/OR (Richard Carrick, piano/celesta; Margaret Lancaster, flutes; David Shively, percussion), live, Philadelphia, 2015

**********

lagniappe

reading table

flitting butterfly–
every corner of my hut
is inspected

—Kobayashi Issa (1763-1827; translated from Japanese by David G. Lanoue)

Saturday, August 13th

MCOTD Hall of Fame

Morton Feldman (1926-1987), For Philip Guston (1984), excerpt; Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live, Houston (Rothko Chapel), 2014

Monday, October 5th

Once I enter this world, I never want to leave.

Morton Feldman (1926-1987), For Philip Guston (1984); Either/OR (Richard Carrick, piano/celesta; Margaret Lancaster, flutes; David Shively, percussion), live, Philadelphia, 2015

Thursday, July 30th

Morton Feldman (1927-1986), Rothko Chapel (1971), live (excerpts), Houston (Rothko Chapel), 2013; Kim Kashkashian (viola), Steven Schick (percussion), Sarah Rothenberg (celeste), Hallie Reed (soprano), Houston Chamber Choir (Robert Simpson, cond.)

#1

 

#2


Today Morton Feldman enters the MCOTD Hall of Fame, joining saxophonists Von Freeman and Henry Threadgill, trumpeter Lester Bowie, poets John Berryman and Wislawa Szymborska and William Bronk, photographer Helen Levitt, and gospel singer Dorothy Love Coates.

**********

lagniappe

random thoughts

No matter how often we turn away, the world keeps calling out to us.

Look.

Listen.

Wednesday, June 24th

Morton Feldman (1926-1987), Rothko Chapel (1971); Seattle Modern Orchestra (with Julia Tai, conductor; Melia Watras, viola; Stephen Olsen, celesta; Brian Yarkovsky, percussion; Sarah Marroquin, soprano), live, Seattle, 2012

Today Morton Feldman enters the MCOTD Hall of Fame, joining saxophonists Von Freeman and Henry Threadgill, trumpeter Lester Bowie, poets William Bronk and Wislawa Szymborska, photographer Helen Levitt, and gospel singer Dorothy Love Coates.

**********

lagniappe

reading table

This performance reminds me at times of Emily Dickinson:

The Stillness in the Room
Was like the Stillness in the Air—
Between the Heaves of Storm—

—No. 591 (Johnson), “I heard a Fly buzz”

 *****

art beat: yesterday at the Art Institute of Chicago

Jean-Luc Mylayne (1946-), No. 560, 2008 (Mutual Regard, through August 23rd)

cal_Mylayne-Mutual-Regard_480_0

Monday, May 11th

career plans for the next life

Maybe, instead of those other things (tap dancer, rubboard player in a zydeco band, bass player in a reggae band, guitar player in a Malian band, cellist in a string quartet), I’ll be a bird.

John Luther Adams (1953-), songbirdsongs (1974-80), Callithumpian Consort (Stephen Drury, dir.), recording (2012)


**********

art beat

Tony Fitzpatrick (1958-), Lunch Drawing #48: A Bird for Bruce Lee

ABirdForBruceLee-600

Saturday, December 27th

Five hours?

As far as I’m concerned, this could go on forever.

Morton Feldman (1926-1987), For Philip Guston (1984); Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live (3:50-), Houston (Rothko Chapel), 11/2/14

**********

lagniappe

random thoughts: New Year’s resolution #1

Quit thinking other people should be more like me—if anything, be thankful they aren’t.

Saturday, March 1, 2014

If you wanted to conjure a world of mystery, what better instrument to lead the way than one that possesses neither the brightness of the violin nor the darkness of the cello?

Morton Feldman, Rothko Chapel (1971), live, Houston (Rothko Chapel), 2011; Kim Kashkashian (viola), Brian Del Signore (percussion), Sarah Rothenberg (celeste), Maureen Broy Papovich (soprano), Houston Chamber Choir (Robert Simpson, cond.)

#1

***

#2

***

#3

Another take? Here.

**********

lagniappe

Rothko Chapel

***

The Rothko Chapel is an interfaith sanctuary, a center for human rights — and a one-man art museum devoted to 14 monumental paintings by abstract expressionist Mark Rothko. The Houston landmark, commissioned by John and Dominique de Menil, opened its doors 40 years ago, in February 1971.

For the past four decades, the chapel has encouraged cooperation between people of all faiths — or of no faith at all. While the chapel itself has become an art landmark and a center for human-rights action, the sanctuary’s creator never lived to see it finished. Rothko committed suicide in 1970.

Approaching the chapel from the south, visitors first see a steel sculpture called Broken Obelisk by Barnett Newman in the middle of a pool — it appears to be floating on the surface of the water. The chapel itself is a windowless, octagonal brick building. Solid black doors open on a tiny glass-walled foyer. (The foyer was walled off from the rest of the interior when the Gulf Coast’s notorious humidity began to affect the paintings.)

The main room is a hushed octagonal space with gray stucco walls, each filled by massive paintings. Some walls feature one canvas, while on others, three canvases hang side by side to form a triptych. A baffled skylight subdues the bright Houston sun, and the surfaces of the paintings change dramatically as unseen clouds pass outside. There are eight austere wooden benches informally arranged, and today, a few meditation mats. A young woman brings the meditation hour to a close by striking a small bowl with a mallet, creating a soft peal of three bells in the intense silence of the room.

Concerts, conferences, lectures, weddings and memorial services all take place in the chapel throughout the year, but on most days you will find visitors — about 55,000 annually come to see, to meditate, to write in the large comment book in the foyer, to read the variety of well-thumbed religious texts available on benches at the entrance.

***

These paintings do not feature the luminous color fields that made Rothko famous. The paintings in the chapel are dark, in purplish or black hues. And there’s a reason for that, says [chapel historian Suna] Umari.

“They’re sort of a window to beyond,” she explains. “He said the bright colors sort of stop your vision at the canvas, where dark colors go beyond. And definitely you’re looking at the beyond. You’re looking at the infinite.”

***

At first glance, the paintings appear to be made up of solid, dark colors. But look closely, and it becomes evident that the paintings are composed of many uneven washes of pigment that create variations in every inch. Stepping back, waves of subtle color difference appear across the broad surfaces — leading to an unmistakable impression of physical depth.

***

Though Mark Rothko didn’t live to see the sanctuary he created, Christopher Rothko says his father knew what it should be.

“It took me a while to realize it, but that’s really my father’s gift, in a sense, to somebody who comes to the chapel. It’s a place that will really not just invite, but also demand a kind of journey.”

—Pat Dowell, “Meditation and Modern Art Meet In Rothko Chapel,” NPR, 3/1/11

*****

reading table

Our lives are Swiss –
So still – so Cool –
Till some odd afternoon
The Alps neglect their Curtains
And we look farther on!

Italy stands the other side!
While like a guard between –
The solemn Alps –
The siren Alps
Forever intervene!

—Emily Dickinson

Thursday, November 7th

Feel like floating?

Morton Feldman (1926-1987), For Philip Guston (1984)
S.E.M. Ensemble, 2000

Saturday, 6/9/12

Spirits need a lift?

Consider this: how much wonderful music—more than a lifetime’s worth—waits to be heard for the first time.

Morton Feldman, For Philip Guston (1984)*

Part 1

Part 2

Part 3

Part 4

More Feldman?

Here.

Here. 

And here.

Here. 

And here. And here. And here.

Here. 

And here.

**********

lagniappe

musical thoughts

Q. This is a tough question, but what would be your five Desert Island disks?

John Luther Adams: I’d want music I could live inside for a long time; music that’s complex and enigmatic enough that there’s always something new to discover. Off the top of my head, my choices might be . . .

One of Morton Feldman’s major works, probably the Second String Quartet. Or maybe For Philip Guston.

**********

*For piano, celesta, piccolo, flute, alto flute, glockenspiel, vibraphone, marimba, chimes.

%d bloggers like this: