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Almost Too Beautiful (2003)

cnvill.net

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Re: Almost Too Beautiful (2003)

#5

Post by jtheory »

This is nicely worded, near the end of the review:

But by that final two hours I was, however, not exactly caught up in the music, but surrounded by it, subdued by it, quelled.

There are bound to be things that a piece of music can do to you, with you, if it has 6 hours to become part of your mental landscape... to wait out your normal attempts to "listen" consciously and make sense of it.

I've never been to a similar concert, but it makes me think about long car voyages I've taken with (accidentally) only one CD in the car. Some albums turn to crap after a few hours. Others keep getting better, or more interesting, or a presence you are comfortable with even if it's not moving you anymore.

Interesting stuff to play with, though of course who has the time, normally...

Re: Almost Too Beautiful (2003)

#7

Post by deweerdt »

appleflaxen wrote: post #3

Here's a link to a clip of the music http://www.youtube.com/watch?v=p8e3qaF1ocU Doesn't do much for me, but I'm no music afficianado.

Citing Feldman's turkish carpet study as a reference is interesting: Christopher Alexander (architectural design patterns, at the origin of software design patterns) also studied turkish carpets in 'Foreshadowing of 21st Century Art: The Color and Geometry of Very Early Turkish Carpets (1993)'

Re: Almost Too Beautiful (2003)

#8

Post by MichailP »

I never quite understood why music went this way. My take is that, as always, musicians had to have some kind of sponsorship, and it slowly shifted from musician being sponsored by noble family (for example Liszt and Esterhazy) to getting a stipend from some institutions board (for example Arnold Schoenberg who worked as a bank clerk and got his first stipend through intervention of friends). That is why nowadays you get much more quality from say jazz than you get from classically trained composers.

Re: Almost Too Beautiful (2003)

#10

Post by coldtea »

MichailP wrote: post #8

I never quite understood why music went this way. My take is that, as always, musicians had to have some kind of sponsorship, and it slowly shifted from musician being sponsored by noble family (for example Liszt and Esterhazy) to getting a stipend from some institutions board (for example Arnold Schoenberg who worked as a bank clerk and got his first stipend through intervention of friends). That is why nowadays you…

>That is why nowadays you get much more quality from say jazz than you get from classically trained composers.

Define quality.

If you mean "you get much more to stomp your feet in the beat to", then OK.

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