TGIF: Every day when I open my eyes now…

Every day when I open my eyes now
It feels like a Saturday
Taking down from the shelf
All the parts of myself
That I packed away
If it’s love put the joy in my heart
Is it God by another name
Who’s to say how it goes
All I know is
I’m back in the world again…
It’s the only way to be

Sunday Morning

On Aug. 29, 1952, in an open-air converted barn in Woodstock, N.Y., pianist David Tudor, known for his interpretations of contemporary music, gave the premiere of a work by John Cage (1912-1992) remarkably different from anything else in the classical repertoire. Tudor had been familiar with the full range of the avant-garde, from the spacious pointillism of Morton Feldman’s “Extensions 3” to the thorny complexity of Pierre Boulez’s First Piano Sonata, both of which were also on the program.

For the Cage piece, however, the pianist curiously sat motionless at the keyboard, holding a stopwatch. The composer had indicated three separate movements with specific timings. Keeping an eye on the timepiece, Tudor announced the beginning of each section by closing the keyboard lid, then paused for the required duration before signaling its end by opening the lid again. All the rest was stillness; throughout the performance he didn’t make a sound.

But Cage’s “4’33”” is actually not about silence at all. Though most members of the audience were focused on the absence of music, there were also ambient vibrations they ignored: wind stirring outside, raindrops pattering on the tin roof—and, toward the end of the performance, the listeners themselves making “all kinds of interesting sounds as they talked or walked out. Music is continuous,” the composer explained. “It is only we who turn away.”

Stuart Isacoff, from “The Sounds of Silence” (Wall Street Journal, November 5, 2021)


Notes:

New Grass

it was such a moment of truth


“Listening to Hania’s music over and over, I began to dream of a single sequence shot that would follow her music floating in the wind of an unreal Icelandic landscape. I asked each dancer to give a personal interpretation of Hania’s song. We were very lucky to succeed in this insane artistic performance despite the great cold (minus 7 celsius), it was such a moment of truth. Shot in Iceland on February 23, 2020”. —  Neels Castillon, Director

Lightly Child, Lightly.


Notes:

  • You’ll say, you don’t have 15 minutes to spare to watch this.  Then after you do, you’ll say: “I’m glad I did.”
  • Post Title & Inspiration: Aldous Huxley: “It’s dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you’re feeling deeply. Just lightly let things happen and lightly cope with them.”

Sunday Morning: On the Nature of Daylight


Cremaine Booker (Cello) & Catlin Edwards (Violin) cover of the Nature of Daylight by Max Richter

Saturday Morning

A tribute to better days ahead…

15 minutes, but worth every minute…

Just now hitting his stride (@ 71)

Every music fan with blood burning in their veins has felt the sting of missing live shows since March, but the pain has been particularly acute for Bruce Springsteen, an artist who’s spent the past six decades onstage, yet says he’s just now hitting his stride.

“I’m at a point in my playing life and artistic life where I’ve never felt as vital,” he said on a Zoom call from his New Jersey home. “My band is at its best, and we have so much accumulated knowledge and craft about what we do that this was a time in my life where I said, ‘I want to use that as much as I can.’”

LZ: Like everyone else, this year hasn’t exactly gone how you’d expected. You’re putting out a record that you can’t yet tour.

BS: Oh, yeah. I think there’s going to be a process before people are comfortable rubbing up against one another again. But if somebody told me, “That’s never going to happen again” — that would be a big life change for me. That act of playing has been one of the only consistent things in my life since I was 16 years old. I’ve depended a lot on it not just for my livelihood, but for my emotional well-being. So if somebody said, “Five years from now, maybe” — that’s a long time. Particularly at my age. I’m 71, and I’m thinking, “Well I know one thing. I’m in the mood right now to burn the house down for as long as I can.” …

I think the projects that I’ve done that were summational in a sense — the book was, the Broadway show was, even this film — it’s sort of just stopping for a moment and taking stock of what you’ve done and where you are at a critical point in your life, which I think, once you hit 70, you’re there. But I look at it as, that’s what I’ve done up to this piece of my work. I still see vital work ahead.

~ Lindsay Zoladz in her interview of Bruce Springsteen, from “Bruce Springsteen is Living in the Moment” (NY Times, Oct 18, 2020)

We’re going to rise from these ashes like a bird of flame

…In the wings of time
Dry your eyes
We gotta go where we can shine
Don’t be hiding in sorrow
Or clinging to the past
With your beauty so precious
And the season so fast…
When I held you near
You gotta rise from these ashes
Like a bird of flame
Step out of the shadow
We’ve gotta go where we can shine
For all that we struggle
For all we pretend
It don’t come down to nothing
Except love in the end…
Remember your soul is the one thing
You can’t compromise
Take my hand
We’re gonna go where we can shine…

— David Gray, from “Shine” (March 2007)

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