Time Space Resonance

[furtwaengler]

Unfolding in the empty auditorium, in the darkness of the night, Tuesday, September 15, 2009.
There is plenty of room to breath and breathings, something of looking in the sky at the heavenly host, though their vastness, power and breadth are no match for the hand that so stretched them. The most typical pattern for resonance is found at about 6:35, as the lifting of a crashing chord reveals an underlying blanket of sound which is the undercurrent for the entire piece. For the purpose of context and keeping it all in a sort of ellipse, I have included the beginning sounds before I walked on the stage to play the first note.

I also include as a separate item, this tonal extract from the same night which hasn't much to do with the piece itself, but was an improvisatory interaction with an actual piece I was practicing in the same space of time, which I cut out of the recording. I like the extract, and hope you will like all of this here. 

Dave

[pianowolfi]

Of course two listens aren't enough to do justice to something as complex as this...
You use four words that seem very comforting to me: Darkness, Space, Time, Resonance!

Yes, darkness is something very comforting and protecting to me. I guess it has always been like this. But in the outer world I know very well the fears that darkness can evoke.

Space: A straight line, theoretically, returns from the opposite side if you extend it into infinity. Very comforting. Nothing is lost. Which meets with resonance. If something resonates there's an answer!

Time is our space, as musicians. Or time and space meet in music.

Interacting and interchanging with IT: sending your sound/message to the dark space (within the hall and beyond it into the cosmos, may it answer or not. Listening to the straight line that comes back, building a bridge from time to eternity...why must it always be straight? NO! with all the patterns, like a meandering river, it comes back. And it changes.

You have good ears and fingers for it
 

[furtwaengler]

Wolfi, your thoughts are very interesting, hitting deep realms. I have a close relationship with this one, because I was able to be kept in a subconscious (superconscious?) realm for nice stretches. I just wish there was some way to communicate the full weight and power of some of the deeper (wider?) chords, chords which seem to strike more outward then downward. The recording is not good, of course...but I think even in being in the room with the piece these chords just cannot be enough; there's always a call for something bigger, something mightier, stretching the possibilities (Has anybody here felt the power of the Berlioz Requiem's brass section, full blast, live in the room?). Ah well...Influences also abound like a single character picture made up of many diverse characters. A legion influence...and I would be happy if these were intuitively communicated. I also like that there are spaces completely removed from this legion; my narration, perhaps. But such cannot be a narrative because of the wonderful resting silences - it could be like large and larger and small and smaller ships passing on the vast sea (Bermuda Triangle? It's more like a circle). Ah well again...the 7 minute segments beginning at 11:28 and the tonal extract...Oh, BTW...the silences in the 20th minute, and the dissonant runs up and down the keyboard like a strand of DNA...these figures have been in my head for years without being thus spoken...and what are they?

I cannot write.
I cannot write.
I cannot write.

These "improvisations" start to bug me.

What do I do with them?!

[Derek]

I haven't listened to the second yet, but I enjoyed the first. (it's helping me get through a slow day at work). I'm not one for deep comments about the music but I enjoyed listening.

[furtwaengler]

I don't know if folks caught this, but I was playing on the big Yamaha on the stage, and the voice recorder was inside a Steinway upright out in the hall, the sustain pedal depressed by a stack of books. This was the cause of that unearthly undercurrent of resonance. (I doubt this would have worked with a better recorder...but I will test this sometime!)

The second one, which has nothing to do with the first (I was practicing Medtner), ought to be transcribed and recorded again with my Tascam. It's worthy.