Saturday, June 25th
Entering his sound-world isn’t hard. What’s hard is leaving.
Tristan Murail (1947-), La Barque mystique, 1993
Entering his sound-world isn’t hard. What’s hard is leaving.
Tristan Murail (1947-), La Barque mystique, 1993
never enough
Thelonious Monk Quartet (TM, piano; Charlie Rouse, tenor saxophone; Larry Gales, bass; Ben Riley, drums), “Rhythm-a-Ning” (T. Monk), live, London, 1966
More.
Tristan Murail (1947-), Territoires de l’oubli (1977); Lan Cao (1987-, piano), live, Germany (Cologne), 2014
yesterday in Chicago
At the Art Institute—next to Millennium Park, site of Saturday’s Gospel Fest—I heard this piece for the first time, played by three Chicago-based musicians (violinist Yuan-Qing Yu, clarinetist J. Lawrie Bloom, pianist Adam Nieman). It, too, sang.
Charles Ives (1874-1954), Largo for Violin, Clarinet, Piano (1901-02); Lucy Chapman-Stoltzman (violin), Richard Stoltzman (clarinet), Richard Goode (piano), 1990
Need a lift?
Angelika Niescier (alto saxophone), Ralph Alessi (trumpet), Florian Weber (piano), Chris Tordini (bass), Tyshawn Sorey (drums), “The Barn Thing” (A. Niescier), live, Germany (Krefeld), 2013
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lagniappe
art beat: other day, Art Institute of Chicago
Aaron Siskind (1903-1991), Martha’s Vineyard Rocks 127B 1954 (Abstractions, through 8/14/16)
three takes
Wolfgang Amadeus Mozart (1756-1791), Piano Sonata No. 8 in A minor
Sviatoslav Richter (1915-1997), live
#1
#2
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Artur Schnabel (1882-1951), 1939
#1
#2
#3
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Dinu Lipatti (1917-1950), live, France (Besancon), 1950
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The A minor sonata is the first of only two Mozart piano sonatas in a minor key . . . It was written in one of the most tragic times of his life: his mother had just died.
Unfailing clarity, lyricism—how apt to hear him shortly after Mozart.
Sonny Rollins, live (“On Green Dolphin Street,” “St. Thomas,” “Four”), Denmark, 1968*
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lagniappe
reading table
dripping from the flower vendor’s
display
morning dew—Kobayashi Issa, 1763-1828 (translated from Japanese by David G. Lanoue)
*****
*With Kenny Drew (piano), Niels-Henning Orsted Pedersen (bass), Albert “Tootie” Heath (drums).
I love his approach to Mozart. He’s never fussy or mannered. He plays simply, directly—like a bird flying from tree to tree.
Wolfgang Amadeus Mozart (1756-1791), Piano Sonata No. 12 in F major (:07-), Fantasia in C minor (22:42-), Sonata No. 14 in C minor (39:54-); Friedrich Gulda (1930-2000), live, Germany (Munich), 1990
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lagniappe
musical thoughts
Mozart was a kind of idol to me—this rapturous singing . . . that’s always on the edge of sadness and melancholy and disappointment and heartbreak, but always ready for an outburst of the most delicious music.
—Saul Bellow (1915-2005)
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reading table
If, instead of the words ‘good’ or ‘right’ (or ‘sacred’) we use the words ‘beautiful’ or ‘pleasurable’ or ‘enlivening,’ . . . how would our lives be different?
—Adam Phillips, Unforbidden Pleasures (quoted in yesterday’s New York Times Book Review)
If I learned I had a week to live, one afternoon, sunlight streaming through the windows, I’d listen to Mozart.
Wolfgang Amadeus Mozart (1756-1791), Adagio in B minor, K. 540
Mitsuko Uchida, live
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lagniappe
art beat: other day, Art Institute of Chicago
Vincent van Gogh (1853-1890), Entrance to the Public Gardens at Arles, 1888
(Taking a break—back in a while.)