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Tag: Christian Wolff

Monday, December 1st

If I wanted to listen in on a conversation in a language I already know, I could go to Starbucks.

Christian Wolff (1934-), Pulse (1998); Jens Bracher (trumpet) & Julian Belli (percussion), live, Germany (Mannheim), 2011

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lagniappe

reading table

The Idea
by Mark Strand (April 11, 1934-November 29, 2014)

For us, too, there was a wish to possess
Something beyond the world we knew, beyond ourselves,
Beyond our power to imagine, something nevertheless
In which we might see ourselves; and this desire
Came always in passing, in waning light, and in such cold
That ice on the valley’s lakes cracked and rolled,
And blowing snow covered what earth we saw,
And scenes from the past, when they surfaced again,
Looked not as they had, but ghostly and white
Among false curves and hidden erasures;
And never once did we feel we were close
Until the night wind said, “Why do this,
Especially now? Go back to the place you belong;”
And there appeared , with its windows glowing, small,
In the distance, in the frozen reaches, a cabin;
And we stood before it, amazed at its being there,
And would have gone forward and opened the door,
And stepped into the glow and warmed ourselves there,
But that it was ours by not being ours,
And should remain empty. That was the idea.

Saturday, 9/24/11

Morton Feldman, For Christian Wolff (flute, piano, celesta; 1986)

Vodpod videos no longer available.

Listening to this, you can find it hard to remember, after an hour or so, what the world sounded like before it began playing.

More? Here. And here. And here. And here. And here. And here.

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lagniappe

Imagine a long, narrow hallway with paintings—subtle, shimmering abstracts by Mark Rothko—hung along both walls. Imagine walking through the hallway, stopping to examine one painting closely before moving on to the next. Imagine the hallway extends for three miles without an exit. This should give you some idea of what listening to For Christian Wolff is like. What might be hell to some people could be an all-too-brief time spent in paradise for others.

—Art Lange, Fanfare, July/August 2009

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At the beginning of Morton Feldman’s “For Christian Wolff” at the Alternative Museum last Sunday afternoon, Nils Vigeland – who played the piano and celesta to Eberhard Blum’s flute – invited listeners with other engagements or expired patience to leave at will.

The few who did walk out before this three-and-a-half-hour musical experience was over neither insulted the spirit of the late Mr. Feldman’s piece nor necessarily missed anything. This music, with its trancelike exposition of simple intervals, can haunt one as much in one hour as it can in three.

“For Christian Wolff” is music whose internal clock has stopped. It offers us the moment, invites us to forget what has already happened and discourages any curiosity about the future. Mr. Wolff was on hand to honor his late colleague. His introductory words – which said little about either the music, the composer or himself – seemed terribly appropriate to the occasion.

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“For Christian Wolff” . . . gives us a deflected image of silence. Like the shadows of Plato’s cave, it is a corporeal flicker of pure nothingness – the kind of music that in the heavens surely sets the toes of gods to tapping.

—Bernard Holland, New York Times, 4/1/90

Tuesday, 9/14/10

This is music that doesn’t hurry.

Christian Wolff (composer, piano, melodica; with Larry Polansky, guitar; Robyn Schulkowsky, vibraphone, miscellaneous percussion; Robert Black, bass; Joey Baron, drums), “Quintet,” live (performance followed by conversation), New York (Roulette), 12/12/09

Want more of Christian Wolff’s music? Here.

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lagniappe

Every now and then I like to make a mess. But generally speaking I prefer transparency.

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The music happens when it’s played—not when it’s composed.

—Christian Wolff

Saturday, 2/6/10

Few composers make such expressive use of silence.

Christian Wolff, “For Piano” (1952)/Frederic Rzewski, piano

(In the right mood, I could listen to this all day.)

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lagniappe

Any collection of sounds that you put together, they’ll have a rhythm no matter what.—Christian Wolff

*****

Abstract Expressionism

On the Road

“Howl”

hard bop

urban blues

doo-wop

rock ’n roll

New York School Composers (John Cage, Morton Feldman, Earle Brown, Christian Wolff)

Not too shabby for a decade (1950s) that’s often dismissed as dull.