Comments for sound expanse http://www.soundexpanse.com Fri, 23 Dec 2011 18:32:56 +0000 hourly 1 http://wordpress.org/?v=3.3.1 Comment on hcmf 2011—CONSTRUCTION (2) by jennie http://www.soundexpanse.com/hcmf-2011%e2%80%94construction-2/#comment-148 jennie Fri, 23 Dec 2011 18:32:56 +0000 http://www.soundexpanse.com/?p=1162#comment-148 Thanks David! I've really only scratched the surface, but hopefully it's a start. The work is so compelling, more and more so with deeper engagement. Thanks David! I’ve really only scratched the surface, but hopefully it’s a start. The work is so compelling, more and more so with deeper engagement.

]]> Comment on hcmf 2011—CONSTRUCTION (2) by David Coll http://www.soundexpanse.com/hcmf-2011%e2%80%94construction-2/#comment-147 David Coll Fri, 23 Dec 2011 18:05:04 +0000 http://www.soundexpanse.com/?p=1162#comment-147 fantastic, Jennie! Glad i noticed this review, it's a very good resource, its great how you tracked down a lot of the influences. This blogs getting pretty good! fantastic, Jennie! Glad i noticed this review, it’s a very good resource, its great how you tracked down a lot of the influences. This blogs getting pretty good!

]]> Comment on ELISION: transference (3)—Bryn Harrison by jennie http://www.soundexpanse.com/transference-bryn-harrison/#comment-14 jennie Sat, 25 Jun 2011 15:38:01 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=226#comment-14 Thanks, John, for your thoughtful comments. They correspond to my own experience, too. All of the pieces on the transference CD, and so many I try to write about here, have the effect, I think, of raising fundamental questions about how to listen. It's a subject that comes up powerfully in the video about ELISION's 2003 performance of Barrett's <em>Dark Matter</em> that recently surfaced. (More on that soon.) Thanks, John, for your thoughtful comments. They correspond to my own experience, too. All of the pieces on the transference CD, and so many I try to write about here, have the effect, I think, of raising fundamental questions about how to listen. It’s a subject that comes up powerfully in the video about ELISION’s 2003 performance of Barrett’s Dark Matter that recently surfaced. (More on that soon.)

]]> Comment on ELISION: transference (3)—Bryn Harrison by John Hails http://www.soundexpanse.com/transference-bryn-harrison/#comment-13 John Hails Thu, 23 Jun 2011 08:38:30 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=226#comment-13 Just from that little clip (and from my previous experience of Bryn's work) the comparison with Clementi is really interesting and (I think) incredibly pertinent in a way that I hadn't previously considered. In the interview, Bryn's comment that he came away from the rehearsal feeling 'empty' reminded me a little of how I sometimes feel after listening to Clementi: there's a sense of devastation and clearance (like deforestation), and it can leave me feeling quite bleak. But in case that sounds too negative, it's an incredibly attractive kaleidoscope that after repeated listenings, you just hear more and more details. It's like a fractal. Just from that little clip (and from my previous experience of Bryn’s work) the comparison with Clementi is really interesting and (I think) incredibly pertinent in a way that I hadn’t previously considered.
In the interview, Bryn’s comment that he came away from the rehearsal feeling ‘empty’ reminded me a little of how I sometimes feel after listening to Clementi: there’s a sense of devastation and clearance (like deforestation), and it can leave me feeling quite bleak. But in case that sounds too negative, it’s an incredibly attractive kaleidoscope that after repeated listenings, you just hear more and more details. It’s like a fractal.

]]> Comment on ELISION: transference (3)—Bryn Harrison by Daryl Buckley http://www.soundexpanse.com/transference-bryn-harrison/#comment-10 Daryl Buckley Fri, 10 Jun 2011 17:45:45 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=226#comment-10 I think your comments are absolutely fine and pertinent! Wouldn't change them for anything! I think your comments are absolutely fine and pertinent! Wouldn’t change them for anything!

]]> Comment on ELISION: transference (3)—Bryn Harrison by jennie http://www.soundexpanse.com/transference-bryn-harrison/#comment-9 jennie Fri, 10 Jun 2011 17:18:47 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=226#comment-9 Thanks for your thoughts, Daryl. I pursued this question with Bryn because it engaged me so much, for reasons that have a lot to do with the name of the blog and a real interest in musicians who are taking nothing for granted but stretching the boundaries, challenging thought, ear, technique... It could be termed working at the margins, but it actually has the effect of changing those margins. There are groups of musicians that cohere somewhat in the ways they are trying to do this, and a lot can happen and does happen through that shared interest and coherence, and the building of those relationships. I had imagined Bryn's music in one of those areas, and ELISION's work in another, and was very invested in both before I knew about this piece. The collaboration seemed quite genuine and mutually enriching, and all the more so, in my experience at least, for defying those expectations and finding a fresh form of coherence. I'll probably go back and edit this comment, but wanted to get this thought down at least in part. Thanks for your thoughts, Daryl. I pursued this question with Bryn because it engaged me so much, for reasons that have a lot to do with the name of the blog and a real interest in musicians who are taking nothing for granted but stretching the boundaries, challenging thought, ear, technique… It could be termed working at the margins, but it actually has the effect of changing those margins. There are groups of musicians that cohere somewhat in the ways they are trying to do this, and a lot can happen and does happen through that shared interest and coherence, and the building of those relationships. I had imagined Bryn’s music in one of those areas, and ELISION’s work in another, and was very invested in both before I knew about this piece. The collaboration seemed quite genuine and mutually enriching, and all the more so, in my experience at least, for defying those expectations and finding a fresh form of coherence.

I’ll probably go back and edit this comment, but wanted to get this thought down at least in part.

]]> Comment on ELISION: transference (3)—Bryn Harrison by Daryl Buckley http://www.soundexpanse.com/transference-bryn-harrison/#comment-8 Daryl Buckley Fri, 10 Jun 2011 15:34:23 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=226#comment-8 Hi Jennie, Yes for me, in working with Bryn, there was a small hint of the transgressive in performing a composer whose inclusion might surprise some, certainly those who are familiar with the work of ELISION from recent years. However, working with Bryn was not totally incommensurate with the artistic history and direction of the ensemble. In the early 90's when ELISION had a strong vein of contemporary Italian aesthetic threaded throughout its concert work we had commissioned a major ensemble piece from Aldo Clementi. Aldo's music, albeit in a different way to Bryn, is also unpretentious. Through engaging with various processes of repetition Clementi transforms the experience of listening to his music to one of perceiving an unchanging object-only the point of regard, if you like, alters. And in this way and also in respect to our Clementi CD of several years ago on Mode the work with Bryn seemed to extend our practice from these earlier artistic experiences. It was a great pleasure to work with Bryn during rehearsal and performance and I hope one day to revisit his piece. Hi Jennie,
Yes for me, in working with Bryn, there was a small hint of the transgressive in performing a composer whose inclusion might surprise some, certainly those who are familiar with the work of ELISION from recent years. However, working with Bryn was not totally incommensurate with the artistic history and direction of the ensemble. In the early 90′s when ELISION had a strong vein of contemporary Italian aesthetic threaded throughout its concert work we had commissioned a major ensemble piece from Aldo Clementi. Aldo’s music, albeit in a different way to Bryn, is also unpretentious. Through engaging with various processes of repetition Clementi transforms the experience of listening to his music to one of perceiving an unchanging object-only the point of regard, if you like, alters. And in this way and also in respect to our Clementi CD of several years ago on Mode the work with Bryn seemed to extend our practice from these earlier artistic experiences. It was a great pleasure to work with Bryn during rehearsal and performance and I hope one day to revisit his piece.

]]> Comment on ELISION: transference (1) by jennie http://www.soundexpanse.com/elision-transference-1/#comment-7 jennie Wed, 08 Jun 2011 12:40:09 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=239#comment-7 Thanks very much, Tim. It's great to be able to include your articles. Thanks very much, Tim. It’s great to be able to include your articles.

]]> Comment on ELISION: transference (2)—Liza Lim by jennie http://www.soundexpanse.com/transference-liza-lim/#comment-6 jennie Wed, 08 Jun 2011 12:00:06 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=227#comment-6 Thanks, Richard. That's the plan! Thanks, Richard. That’s the plan!

]]> Comment on ELISION: transference (1) by Tim Rutherford-Johnson http://www.soundexpanse.com/elision-transference-1/#comment-5 Tim Rutherford-Johnson Wed, 08 Jun 2011 10:08:10 +0000 http://www.jenniegottschalk.com/soundexpanse/?p=239#comment-5 Great stuff Jennie - really looking forward to reading all of these! Great stuff Jennie – really looking forward to reading all of these!

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