music clip of the day

jazz/blues/rock/classical/gospel/more

Category: piano

Wednesday, October 8th

This I could listen to all day.

Morton Feldman (1926-1987), Palais de Mari (1986); Blair McMillen (piano) & Ryan Olivier (video processing), live, Philadelphia, 2014

**********

lagniappe

musical thoughts

My obsession with surface is the subject of my music. In that sense, my compositions are really not ‘compositions’ at all. One might call them time canvases in which I more or less prime the canvas with an overall hue of the music.

—Morton Feldman, “Between Categories” (Give My Regards to Eighth Street)

Monday, October 6th

alone

These pieces, inspired by Bach’s Well-Tempered Clavier, were dedicated to her.

Dmitri Shostakovich (1906-1975), 24 Preludes and Fugues (1950-51); Tatiana Nikolayeva (1924-1993), live (BBC studio), 1992

Nos. 4 and 5

***

Nos. 10 and 11

***

No. 24

**********

lagniappe

art beat

Helen Levitt (1913-2009), Mexico City, 1941

helen-levitt-new-york-black-and-white-street-photography-people-looking-opposite-ways

Monday, September 15th

It’s your choice. You can allow yourself to be swept away. Or you can stay put on your own little island.

Johannes Brahms (1833-1897), Piano Concerto No. 2; Munich Philharmonic (Sergiu Celibidache, cond.) with Daniel Barenboim, piano, live, 1991

**********

lagniappe

reading table

The man pulling radishes
pointed my way
with a radish.

—Kobayashi Issa (1763-1827; translated from Japanese by Robert Hass)

Tuesday, September 9th

What to make of this?

Why make anything of it?

Why not let it make something of you?

John Cage (1912-1992), Music for Amplified Toy Pianos (1960); Pestova/Meyer Piano Duo, live (recording session), Luxembourg, 2012

**********

lagniappe

reading table

Falling blossoms.
Blossoms in bloom are also
falling blossoms.

—Ryokan (1758-1831; translated from Japanese by Kazuaki Tanahashi)

Monday, September 8th

alone

One-word review: Wow!

Matthew Shipp (piano), live (music starts at 5:00), Chicago, 8/27/14

Saturday, September 6th

tonight in Chicago

She’ll be performing at Constellation.

Morton Feldman (1926-1987), Triadic Memories (excerpt)
Marilyn Nonken (piano), 2004


**********

lagniappe

reading table

John Koethe (1945-), “A Private Singularity” (Poetry, 9/14)

I used to like being young, and I still do,
Because I think I still am. There are physical
Objections to that thought, and yet what
Fascinates me now is how obsessed I was at thirty-five
With feeling older than I was: it seemed so smart
And worldly, so fastidiously knowing to dwell so much
On time — on what it gives, what it destroys, on how it feels.
And now it’s here and doesn’t feel like anything at all:
A little warm perhaps, a little cool, but mostly waiting on my
Life to fill it up, and meanwhile living in the light and listening
To the music floating through my living room each night.
It’s something you can only recognize in retrospect, long after
Everything that used to fill those years has disappeared
And they’ve become regrets and images, leaving you alone
In a perpetual present, in a nondescript small room where it began.
You find it in yourself: the ways that led inexorably from
Home to here are simply stories now, leading nowhere anymore;
The wilderness they led through is the space behind a door
Through which a sentence flows, following a map in the heart.
Along the way the self that you were born with turns into
The self that you created, but they come together at the end,
United in the memory where time began: the tinkling of a bell
On a garden gate in Combray, or the clang of a driven nail
In a Los Angeles backyard, or a pure, angelic clang in Nova Scotia —
Whatever age restores. It isn’t the generalizations that I loved
At thirty-five that move me now, but particular moments
When my life comes into focus, and the feeling of the years
Between them comes alive. Time stops, and then resumes its story,
Like a train to Balbec or a steamer to Brazil. We moved to San Diego,
Then I headed east, then settled in the middle of the country
Where I’ve waited now for almost forty years, going through the
Motions of the moments as they pass from now to nothing,
Reading by their light. I don’t know why I’m reading them again —
Elizabeth Bishop, Proust. The stories you remember feel like mirrors,
And rereading them like leafing through your life at a certain age,
As though the years were pages. I keep living in the light
Under the door, waiting on those vague sensations floating in
And out of consciousness like odors, like the smell of sperm and lilacs.
In the afternoon I bicycle to a park that overlooks Lake Michigan,
Linger on a bench and read Contre Sainte-Beuve and Time Reborn,
A physics book that argues time is real. And that’s my life —
It isn’t much, and yet it hangs together: its obsessions dovetail
With each other, as the private world of my experience takes its place
Within a natural order that absorbs it, but for a while lets it live.
It feels like such a miracle, this life: it promises everything,
And even keeps its promise when you’ve grown too old to care.
It seems unremarkable at first, and then as time goes by it
Starts to seem unreal, a figment of the years inside a universe
That flows around them and dissolves them in the end,
But meanwhile lets you linger in a universe of one —
A village on a summer afternoon, a garden after dark,
A small backyard beneath a boring California sky.
I said I still felt young, and so I am, yet what that means
Eludes me. Maybe it’s the feeling of the presence
Of the past, or of its disappearance, or both of them at once —
A long estrangement and a private singularity, intact
Within a tinkling bell, an iron nail, a pure, angelic clang —
The echo of a clear, metallic sound from childhood,
Where time began: “Oh, beautiful sound, strike again!”

Friday, September 5th

Today, MCOTD‘s fifth anniversary, we revisit a few early favorites.

*****

September 5, 2009

One left Cuba after the revolution, the other stayed. Here they play together: pianists—father and son—Bebo (1918-2013) and Chucho (1941-) Valdes.

 

*****

September 11, 2009

If spirit could be sold, New Orleans would be rich.

Rebirth Brass Band, live, New Orleans, 2009


*****

September 23, 2009

May, 2012

Nobel-Prize-winning economist devises a way to turn faces—images of them, that is—into marketable commodities: the more expressive the face, the greater the value.

March, 2013

Haiti is named one of the world’s wealthiest countries.

Arcade Fire, “Haiti”


*****

Without music where would we be?

Thursday, September 4th

composer, n. somebody who wants to hear sounds nobody’s ever heard before.

Mario Diaz de León (1979-), Prism Path; International Contemporary Ensemble (ICE),* live, New York, 2011

*****

*Claire Chase, flutes; Eric Lamb, flutes; Joshua Rubin, clarinets; Cory Smythe, piano; Nathan Davis, percussion; Mario Diaz de León, electronics.

Friday, August 29th

Drums, voice, piano—who needs more?

Fiona Apple, “Hot Knife,” 2013 (video)

Thursday, August 28th

never enough

Ludwig van Beethoven (1770-1827), Piano Sonata No. 17 in D minor (“The Tempest”); Daniel Barenboim (piano), live, Berlin, 2005

I went decades without listening to Beethoven. Now I can’t imagine life without him. No matter what kind of day I’m having, no matter what my mood, his music makes life seem richer, and deeper, and more worth living.