'Percussion' Version. Initially, I intended to write a series of biographical ‘incidents’ outlining significant events in my life. But then, it turned into an observation about the whole concept of self-image. Many of us are familiar with the story of Narcissus. The young man who saw his own reflection in the water and fell in love with it, not realising it was merely an image. Unable to leave the beauty of his reflection, he lost his will to live. He stared at his reflection until he died. This is how Elan Golomb (Trapped In The Mirror) views the narcissistic personality. “-They unconsciously deny an unstated and intolerably poor self-image through inflation. They turn themselves into glittering figures of immense grandeur surrounded by psychologically impenetrable walls. The goal of this self-deception is to be impervious to greatly feared external criticism and to their own rolling sea of doubts - ” It ends with a de-constructed the...
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The Flute Sonatine came at the height of my obsession with the works of Pierre Boulez. In 1947, he wrote a Flute Sonatine for piano and flute as a result of a suggestion by his then teacher, René Leibowitz . with whom he was later to have a notorious falling out. "With a red pen, [Rene] Leibowitz began marking up the manuscript [to Boulez's first sonata], then dedicated to him. Grabbing the score, Boulez fled, shouting at Leibowitz "vous etes de la merde!" Three years later, Boulez's publisher Herve' Dugadin asked him if the dedication should remain on the printed score. As Boulez shouted "Non!" he stabbed the manuscript with a letter opener until it was virtually in shreads." His Sonatine fuses together the two waring factions of Stravinsky and Schoenberg in terms of rhythm and harmony. It is described by David Schiff as, releasing in the sonatina an explosion of musical violence, nervousness, and instability. My Flute Sonatine, ...
Earlier, I supported this project... "I don't normally do this but I think it is significant enough project to put my backing behind it. Dan Goren, formally of the BMIC, is creating a magazine for contemporary music with the curious title, "Sounds Like Now"(What does the word 'like' mean?). The intention, I believe, is to showcase, educate and promote the best of British contemporary music. At the moment, he is close to reaching his goal of £18,000 to get the project running. He needs your support. His project can be found here: sounds-like-now " It reached its goal of £18,000 and should have been completed. But can anyone tell me what is happening now? Update...I have spotted them. They are here: https://www.soundslikenow.net/my-listening-xenia-pestova/ I was wondering...How are they going to get more subscribers if they don't allow new viewers full access to their articles?
As the US elections approach, let's reflect on a curious proposal from one of the 2016 presidential candidates, Ted Cruz. In an unusual stance, he suggested banning the tritone due to its alleged satanic association. This idea may strike some as reminiscent of medieval thinking, considering the tritone's historical association with the "devil in music." While such views might seem outdated in modern times, it serves as a reminder that diverse perspectives and beliefs can influence even political discourse. As we navigate the upcoming elections, let's cherish the open exchange of ideas while keeping an eye on progress and inclusivity in our society. “A pair of tones separated by three consecutive whole steps may at first seem perfectly harmless,” Cruz said, “but when played together or in melodic succession they pose a direct threat to the moral fabric of our great nation.” For more information please read this article.
"Empfindsamkeit" started off as a commission from Christopher Redgate. His idea was to write a piece for his Oboe Quintet to appear on an upcoming CD. Unfortunately, it wasn't finished in time for the recording. However, in the extra time that I was permitted, a situation occurred that unwittingly contributed to changing my ideas about my music. Unlike much of the music that I composed around that time, this work was written without much prior organisation. Usually, my work is planned meticulously. Weeks, sometimes months are spent, organising pitch elements and rhythms. No such undertaking for this work. What I heard was virtually what was written down. No more, no less. Instead, I concentrated on the sonorities of the music. I moved my focus from pitch and rhythm to timbre and colour. I also had not written for such a conventional group of instruments. Had it not been for Christopher Redgate, I would not have entertained this particu...
Recently, I have discovered a fascinating revelation about the composers we admire so much. That behind many geniuses, there usually is a predecessor lurking in the background. It reminds of that often quoted phrase by Picasso A good artist borrows and great artist steals Now, I am not suggesting that the composers who I mention are stealing peoples' ideas - there is no evidence to support that fact. However, I am suggesting that the idea of a genius who came from nowhere may not be accurate. Let's take the case of Ernest Fanelli. Who? You might ask. He is a significant but unknown person in the development of impressionism. He is an Italian born composer living in Paris. He composed a good deal of 'new' music at the end of the nineteenth century. His ideas were quite radical; his instrumentation included harmonics, sul pont., he used wordless choruses. Unfortunately, he wasn't as talen...