call me, call when you get in.
look around the corner.
look around, I said.
did you see it?
down the stairs.
neposílejte zraníte na mé nebezpečné ryby
prosím, nezabíjej nic s mým montáž na stěnu kytary
naladěný na rozcestí
It’s always exciting whe one rediscovers works created during different periods of artistic exploration. Here is an experimental piano improvisation I recorded in 2006. Despite the bad quality of the recording, I feel there are some ideas therein which I would like to revisit and reinterpret. I wonder what I was thinking or feeling whilst playing? Sadly I cannot recall it’s creation or inspiration. I’m very happy I recorded it however, for just as a photography renders a relic of the physical self at a particular point in time, here I feel the improvisation no doubt expresses my preoccupations, obsessions and frustrations at this point in my life. I listen as a stranger, as if the girl playing the piano is not really me, and I’m learning some of her secrets…
A quite beautiful final piece of four in the series Fractured by John Strieder. There is some slight re-tuning of the cello, to create the desired intervals of natural harmonics.
A few years ago, Modern Art Oxford hosted a Disklavier piano, repeatedly playing Katie Paterson’s work Earth-Moon-Earth. Paterson transcribed Mozart’s Moonlight Sonata into Morse code, transmitted this information to the moon, and recreated the score using the reflected information captured. Information is lost in this process, meaning parts of Moonlight Sonata that were sent to the moon just never returned to Earth.
They almost appear to be rips across the face of the score, but each line here is graphic notation for each performer, over the space of about 20 seconds. Sdraulig also provides a more detailed, “transposed” score for the performers; in my opinion though, that would act more as a guide to this page; this sparse score speaks more concisely than the fully annotated version.
I couldn’t find any recording of this work, but the score is here.