To put some order in the chaos, or maybe not, I am announcing the release of STOHSPANS 13-14 in Google Play. It is a collection of the songs released in this blog during 2013 and 2014. It is not mixed or mastered properly, but it eventually will be, I hope... Anyway, here it is (free):
This is a chaotic blog, in the sense that music production follows some weird mood of the author and not some wise marketing decision, such as "finish it and present it properly to the public". I keep repeating this, I know. For instance, I could believe more in my capabilites, try my best to really turn some specific song into something as beautiful as possible, get some lyrics, sing it, get someone to mix and master everything to perfection, invest in packaging and marketing, etc.
It sounds like a lot of trouble, not suited to my life's rythm. So, I will just continue watering my song garden, adding some seeds, watching them grow and occasionally sharing some snapshots, when the mood arrives.
Everyone is invited to modify and create something different from these growing plants. In a way, this blog is pollen. And it is spring, after all.
I recently discovered this english word, "cagey". This should be a funny discovery to any portuguese speaking person and no, I am not telling you why, all you few non-portuguese speaking folks that visit this humble blog, because one of the meanings of this word is exactly "not willing to say everything that you know about something".
I have also been watching, in awe, to Bernstein's 6 Harvard classes on "The Unanswered question". After explaining us the marvels of the connections between music composed by different authors (e.g., the derivation of Wagner's Liebestod from Berlioz's Romeo and Juliet in episode 4, starting at 59:45), episode 5 starts with Ravel's Rapsodie Espagnole which, to my ear, bears some resemblances to Bernstein's "I feel pretty". Yet, Bernstein's says nothing about this, when he could have used that as another example of his point in previous classes. Perhaps he wanted to tell us something about that other pillar of beauty, subtelty? Not telling us everything? Or was it subliminar, unintended?
Yesterday, just after lunch, I realized that Liebestod's climax (1:34:40 in Leonard Bernstein's version) is in yet another of my dearest memories: John Lennon's Imagine. Yes, it is there, almost everywhere, in the fast and higher pitch piano part that connects to the repeating motiv (48'', 54'', 1'00'' etc in the video below). Did a bunch of Liebestod-fan neurons in my brain influence my preferences in music, films, etc all my life? And how does this connects to my lunch yesterday? And how come John's expression in the image below reflects so well my surprise?
Addendum: The period of Liebestod's climax repetition is the same as the repetition in Lennon's Imagine or am I imagining things?
The last time I went to the cinema
with my family, I had an argument with my kids because, although the film was
technically impeccable, I said that it lacked ambiguity. The kids loved the
film and were shocked when I started with my "yes, the film was good
In fact, that
argument allowed me to realize that, in great part, the sense of unfulfillment
I get after seeing a movie at the cinema comes from the lack of ambiguity of
most current cinema (blockbusters movies, mainly). Hollywood, are you listening?
You don't have to explain the whole movie to the public! The intriguing sense
of mystery that comes from ambiguity has its own charm and can leave a sweet,
enduring, mesmerizing impression (I saw "2001 a Space Odyssey" for
the n'th time recently). Ambiguity can be more important than the consistency
of the story!
Ok, that happened a few weeks ago. Today, I saw a 2h20m video with Leonard Bernstein talking about
"The Delights and Dangers of Ambiguity". My first impression was:
"Bernstein! Ambiguity! 2 hours! Wow!" (my second probably was: "He talks!
And what a great communicator/teacher/player he is!"; Third:
"Liebestod! Prélude à l'après-midi d'un faune!"). The video is
remarkable for many reasons and leaves important hints to better understand the paths towards beauty and emotion.
The magnificent rendition of Liebestod, maybe the
most beautiful piece of music ever written, with its long and difficult progression to the climax, here with the superimposed image of the
emotion of Bernstein, dancing and feeling the music, is priceless. It starts at 1:16:20 in the video, but do not miss the discussion that starts at 59:45.
(I mentioned Liebestod before in
this blog. This blog needs to have a valid link to it, because I do not
trust my memory enough. Oh,and sorry for my bad english...)
After my first album, TRA, the next thing closest to an album will probably be EFIL (I guess). I do not know many things about this would-or-could-be-2nd-album, but I will keep you posted.
Right now I am listening to a diskette with some improvisations I made a few years ago and my urge is to publish everything as is, with lots of mistakes, terrible quality, and so on. And why not? Technology allows it.
So why not?
We see life "as is". The simplest living being is pure art, "as is". Imperfect or perfect, adjusted or not to its environment. Does art need to survive time? Does art need to be "perfect"? Does it need to be "perfect" because it needs to be performed and leave a good impression on the public? Does art need to be "performed"? Or can it just "be"?
(Yet another improvisation, this text. It just appeared in the keyboard. Let's see if I will be ashamed of it tomorrow...)
This blogger is the hugely-immensely-super-cali-fragili-etcetera proud winner of the "Best Ambient Techno" category of the Great Sufjan Song Xmas Xchange. Don't know what this contest was? Read about it in the Wall Street Jornal (and don't forget to watch the video - meet Alec Duffy, the winner, and be amused and amazed at the incredible tale of Sufjan's extremely exclusive song "A lonely man in Winter"!).
One year ago, aweing at the passing of time, I started to publish the "TRA" album, one song per day (freely available in Soundclick and Google Play).
Time passes and things change. In this blog songs have birthdays, hence birthday parties. Sometimes I will give them a candle moment, eventually with some time-shift because time is strange, and we'll see how they get old. Or younger. Time is strange.