The Modern mixtape #005

Notes on update #005 of The Modern mixtape.

Regarding Le Déluge d’après Poussin by Hugues Dufourt. It’s like a spectral variant of Morton Feldman. Brian Eno compares ambient music with a river that is floating by. It is always evolving and moving but from your point of view, as a observer, it is standing still. I find these qualities in both Morton Feldman and John Cage music. Le Déluge d’après Poussin is constantly changing, with new harmonies and timbres but standing still at the same time. Very beautiful.

The pianist Sabine Liebner has a atmospheric and dreamy way of playing the piano. She have done very nice recordings of both of Feldman’s late piano pieces and Cage number pieces for solo piano. Here is Tilbury by Christian Wolff.

In the second movement of Voyage into the Golden Screen Per Nørgård uses his infinity series melody for the first time. It is a fractal way that constructs a never ending infinite melody. In the second symphony it is explored even more with a tone row that consists of over 4000 notes. The result is a strange and beautiful piece of music.

Neptuni Åkrar is an orchestra piece by the Swedish composer Henrik Strindberg. The basic idea is arpeggios of natural harmonics played on string instruments. You can read a detailed description about the structure and techniques used in the piece in Swedish here. It won the Christ Johnson prize in 2007.

the-modern-mixtape
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Modernism

Modernism 50: Spotify Picks is a Spotify playlist that depict Modernism music from the early 20th century.

One of the pieces is the opening movement of Bela Bartok’s fifth string quartet. Like some other of his pieces it has an arch form, where each section is repeated but in reverse order. Here, Bartok takes this concept further by not only have the sections in reverse order but, for instance, have the melodies in each section are inverted.

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