the best part of that clip is seeing how destroyed that guy appearing in "the brig" is...he seems like a nervous shut-in (harold smith?), but other than mentioning his off (off) broadway show, theres no mention that hes involved in what is often referred to as the most neurosis enducing "plays" of all time...
also: satie is just plain brilliant. and i do wonder what heppened to the webpage version of vexations...granted it was just a midifile set to repeat 840 times, but still..i wonder what the weird fckr would have thought of that...is there any instances of satie talking about or considering automated musics? seems like something w. benjamin might have thought around
― bb, Tuesday, 11 March 2008 17:45 (eight years ago) Permalink
heres a good chronicaling of various performances i came across after watching that ive got a secret clip last week
i assume the "special guests" were the nytimes critic
theinteresting point made by cage was around the effect that the successive playing had on destroying personal interpretive playing and the convergence around a "group" interpretation.
― bb, Tuesday, 11 March 2008 17:51 (eight years ago) Permalink
theres no mention that hes involved in what is often referred to as the most neurosis enducing "plays" of all time...
I had to look The Brig up after reading this. Was it really as influential as it seems like it would have been based on the synopsis? It's interesting to watch the actor guy fall into what looks like a trance while listening, and it doesn't really look forced. I wonder how conditioned you'd be after listening to that piece for eighteen hours...
― mh, Tuesday, 11 March 2008 19:35 (eight years ago) Permalink
alex ross thinks it's joshua rifkin
Joshua Rifkin (born April 22, 1944 in New York) is an American conductor, keyboard player, and musicologist. He is best known by the general public for having played a central role in the ragtime revival in the 1970s with the three albums he recorded of Scott Joplin's works for Nonesuch Records. The albums - which were presented as classical music recordings - were critically-acclaimed, commercially successful and led to other artists exploring the ragtime genre. Rifkin's work as a revivalist of Joplin's work immediately preceded the adaptation of Joplin's music by Marvin Hamlisch for the film The Sting (1973).
rifkin's joplin records are still my favorite joplin, he plays the guy like bach
― Milton Parker, Tuesday, 11 March 2008 19:51 (eight years ago) Permalink
xpost with bb's link that I just finished reading, sorrys
I've got three finder windows open playing alan marks' vexations, reinbert de leeuw's vexations & rifkin's joplin
― Milton Parker, Tuesday, 11 March 2008 19:54 (eight years ago) Permalink
oh man, 'solace' + 'vexations' was meant to be
hmm, ill have to hear some of this rifkin..
ill have to hop over to ubuweb to check myself, but i recall some of the "pianoless 'vexations'" from the sculpture center being fairly interesting, though flawed by not actually following the intructions. (but am listening to vancouver soundscapes right now).
as for "the brig". i've, understandably, only seen the mekas brother's film (shot durring the final performance, when the living theater and a handful of spectators snuck back into the shut down theater for a final, illegal, performance)and had a hard time getting through. it's classically artuad-ian and rather brutal in its reality. not being a big theater fan, i couldn't say how influential it really was, but anecdotes of the 60's avant garde speak powerfully of its impact with the downtown arts community..
― bb, Tuesday, 11 March 2008 20:08 (eight years ago) Permalink