“…everything is so damn Podcast-y and YouToob-ish now a days. It would be nice to have a place where one can go to read a little, maybe browse a few photos about music gear and…”
40 interviews since the lockdown started. And they just keep on coming: martinyammoller.com
Here’s a nice website with home-studio setups and interviews and quite a few faces from the Copenhagen scene: martinyammoller.com
Mononoke #jamuary @bram_bos apps.apple.com/app/id1492577124
Mononoke #jamuary @bram_bos ruismaker.com/mononoke/
At a concert with beautiful performances by @madsemilnielsen and @andrewpekler a few weeks ago, the gentleman next to me and took out his sketchpad, pens, and inks. I guess that’s another way of approaching music and visuals… @arbitrary_cph
Helge Slaatto performs fuglens flugt in Holte tomorrow (Nono, Borup-Jørgensen and von Schweinitz are also along) seismograf.org/event/2017/10/29/nyt-og-gammelt-i-holte-diverse
Building, Exploring, Composing. Thoughts on the relation between building instruments and making music with them:
frankensteins-lab.net/labs/building-exploring-composing
Jan Stricker and Rasmus Cleve Christensen’s fine Lyt Dybt podcast has a great episode covering the history of STEIM.
The podcast is generally in Danish, but a good deal of this episode is in English, thanks to guest Andi Otto.
Riveting performances of Feldman and Ergün by the @jackquartet at Klang Festival last night:
Morton Feldman’s Structures played with beautiful sounds and incredible precision. Restful in what it is, with hints of what was to come in the late string quartets, yet sounding surprisingly up-to-date for a piece that was composed in 1951.
Cenk Ergün’s Sonare is the kind of piece where one can’t quite figure out how it’s done, even though the material seems clear enough on the surface. How is it that an unamplified string quartet can produce so much sound?
Here’s an interview on how it came about.
I’ve been catching up on lectures from the Darmstädter Ferienkurse 2016. They’re fortunately all available in audio form via Voice Republic with a handy podcast feed so that I can get them into Overcast.
I started off with Klaus Lang’s Liebe und Notation. Klaus was a fellow student back in the day when I studied composition with Younghi Pagh-Pahn in Bremen. He enjoyed the long trips from the Austrian mountains to the flat spaces of the German north: Creating open spaces happens to be one of the main features of his music.
The second lecture I’ve gotten round to has been Theater – Macht – Kritik – a concise overview of the changing views on theatre since the Greeks. I found it useful as a framework – as a tool for placing the kind of mindset (the director’s inszenierung as central focus) that Pelle Gudmundsen-Holmgreen came up against when getting his opera staged, as discussed at Frankenstein’s Lab last year.