two takes
Sergei Rachmaninoff (1873-1943), Prelude in C-sharp minor
Sergei Rachmaninoff, piano roll
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Sun Ra (1914-1993), recording, 1980
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lagniappe
found words
Potentially fatal
dangers lurk in
your backyard—AOL
*****
taking a break
I’m taking some time off—back in a while.
No matter where you are, new sounds are just around the corner.
Marcos Balter (1974-), Strohbass (2011), Shanna Gutierrez (bass flute) and Ryan Muncy (baritone saxophone), live, Evanston, Ill., 2011
the other night
The sky’s all thunder and lightning, and it’s almost midnight, and I’m sitting in a Walgreens parking lot near Midway Airport, waiting for my son Alex’s long-delayed flight to arrive, and if it weren’t for Rubinstein’s recordings of Chopin’s nocturnes, which I keep playing over and over amidst the rain and the neon, I’d be going absolutely bonkers.
Frederic Chopin (1810-1849), Nocturne in C-sharp minor, Op. 27, No. 1; Arthur [Artur] Rubinstein (1887-1982), piano
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lagniappe
random thoughts
Listening to Chopin, reading Chekhov: if I ever retire, maybe I’ll relocate to the 19th century.
This piece had its world premiere in 1941; the venue wasn’t fancy—a Nazi prisoner-of-war camp.
Olivier Messiaen (1908-1992), Quatuor pour la fin du temps (Quartet for the End of Time), live, ChamberFest Cleveland (Franklin Cohen, clarinet; Yura Lee, violin; Gabriel Cabezas, cello; Orion Weiss, piano), 2013
soundtrack for a dream
Marcos Balter (1974-), Frisson (2011); Chicago Composers Orchestra (Matthew Kasper, cond.) with Eric Lamb (flute), Chicago, 2011
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lagniappe
reading table
Speculative, imaginative writings—texts that ‘open possibility’—help us to live because the definitions by which we live are themselves productions of the cultural imaginary.
—Frances Richard, “Multitudes” (Poetry, May, 2014)
never enough
Three more takes on what we heard Thursday.
Johann Sebastian Bach (1685-1750), Violin Sonata No. 1 in G minor (2nd Movt.)
Henryk Szeryng (1918-1988), live
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Arthur Grumiaux (1921-1986), recording
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Yoojin Jang (1990-), live
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lagniappe
reading table
[A] mad person not helped out of his trouble by anything real begins to trust what is not real because it helps him and he needs it because real things continue not to help him.
—Lydia Davis, “Liminal: The Little Man” (The Collected Stories of Lydia Davis)
never enough
Frederic Chopin (1810-1849), Piano Sonata No. 3 in B minor
Rafal Blechacz (1985-), piano, live
1st Movement
2nd Movement
3rd Movement
4th Movement
*****
can’t wait
Tomorrow Blechacz (pronounced, I just learned, BLEH-hatch), who recently won the 2014 Gilmore Artist Award,* will be at the University of Chicago’s Mandel Hall, playing Bach and Beethoven and Chopin.
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*New York Times (1/8/14):
[O]ne of the great windfalls of the music world . . . the $300,000 Gilmore Artist Award . . . is given every four years to an unsuspecting pianist deemed worthy of a great career by a panel of anonymous judges who conduct their worldwide talent search in secret.
Yesterday this piece, by a composer often heard here, won the 2014 Pulitzer Prize for music.
John Luther Adams (1953-), Become Ocean (2013); Seattle Symphony
*****
taking a break
I’m taking some time off—back in a while.
never enough
Frederic Chopin (1810-1849), Ballade No. 1 in G minor, Op. 23
Krystian Zimerman (1956-), piano, live
