So ...you wanna get HI?
132 measures just saving so I dont lose with my puter.I dont have 1/10 of the notes ion yet Section c is just a formula of two keyboard works being played at same time one on piano other cello violin and celesta with another keyboard trio .Somewhere along the way memory and distortion will bring in mew ideas ,mental illness or just plain simultaneity .Not sure what it means .Rather construct music that has no ultimate meaning.In reality few things do .Meaning lies outside an artist' creation .He ,not Beethoven or Meredith monk can claim to ultimately know or circumscribe a circle around any of their works.Meaning belongs to each person who experiences.The notebooks of Beethoven only show the path he took and what were his moptives .What meaning it had for him but ulterior purposes are still not the ultimate nor is their an ultimate.This is a philosophy I'd rather not share because im finding god (yes small letters because it tooI believe is self -created thru your own reasoning and feeling.with that I will only say this is my most ambitious piece yet , wrong headed in spots but it's about something ultimately...to me.
Andrew Toovey creates simultaneous music and the father of Charles Ives is the first musician I know who fantasized about many musics together.Charles Ives of created this and their is a film on youtube of Stojkowsky and another Jose ?conductor conducting two orchestras. Gee,I would love to see the score to that work.Time to head to University of Miami 's fabulous library. That would be the thing I would take to my desert Island .all the time n the world. Oops. There we go... The name of my second simultaneous piece is called Simultaneity 3 : A million hours. !80 years would not be enough time to go thru the music and books on music aesthetics.. a philosophy section and history section the same could be said about.
The Duke Ellington,Purcell trio with alto coming soon .along with my tribute to Jimi Hendrix,Timothy Buckley and his son with Leonard Cohen and Nina Simone, Joy Division and Gibbons with Thelonious Monk and so much else many of whom willl be singing playing compo st ing together .
Funerals an earlier piece was my first hint at marrying a dead piece or dead composers music to a living one. Music never dies it can be destroyed and alyered and brougt to new life. Let's SEE!. I might try to make Simultaneity work out and sound well together. sound Well? What the heck does that mean.
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Comments
I didn't really like measures 1-59, but 60 and beyond I really liked! Is that the Shostakovich cello concerto theme? Shostakovich is my favorite composer!
In reply to I didn't really like measures by PurpleLlamacorn
I havent put in many of the notes .Im not sure if the project will be as I thought. the later part measures actually are the Scriabin 3rd sonata playing and the celesta music is from a chopin g # minor prelude .The violin and cello will play rest of the music but i loved the chiming of the left hand part I wanted it to be heard alone.Noone would ever guess that was Chopin.Maybe I will transcribe for tuba and trombones like Pierre Boulez did a chopin work.What a surprise to hear 3 pieces of music at the same time.Just wait.I adore Shostakovich .the a minor Violin concerto and 5th and 10th symphonies are always in my ears. the beginning will make more sense as i decide finally whatIm trying to do! I thinklike Messaien I will have to write some celesta and keyboard music! I need to try working on one piece or 2 at a time.I want to stay with this idea of have several pieces of music going with diffeent feels ,tonalities and metrics and ideas at one time.Maybe I will use voices reading several poems at once etc.We'll see.It's an old idea that hasn't been taken up as much as our last century should have allowed. Noise is a fearsome and powerful thing when it makes u notice it. My question is how to make memorable indelible poetry from the chaos and anguish and non-focus of P U R E N O I S E > .That is what I love in music the insensible part that tugs at us and we cannot get rid of as hard as we try.Beethoven does this and Mozart did it without really ralizing it possibly.It's an old idea.Very common in the quartets &symphonies of Beethoven and Charles Ives!