Bill Evans may have been the greatest jazz pianist ever, but his life was, unfortunately, too short. Born in 1929, he died on September 15, 1980, of a bleeding ulcer, cirrhosis and pneumonia. A drug addict for much of his career – he had periods where he was hooked on heroin, and others on cocaine […]
Way back when, I discovered Toru Takemitsu’s music. I think the first I heard was a few pieces for guitar on an album with a number of twentieth-century guitar works, including one of my favorites, Benjamin Britten’s Nocturnal. Something about Takemitsu’s music prompted me to search out other records with his work (this was back in the early 80s, still the LP era), and I found a couple. Listening to his orchestral music hooked me immediately.
I like a wide variety of music, but much “modern” music leaves me cold. I like much minimalism, including Steve Reich and some early Philip Glass; I love Morton Feldman; and I like a variety of other 20th century composers, some, like Sibelius, who are still anchored in melody, and others, like Bartok, whose music is more difficult. I like much of Messiaen’s strange music, and some of the Scandinavian composers. But I’m not a big fan of serialism, or any of the other -isms that turned twentieth-century music into a mass of unlistenable works. (Sure, there are some good things, but much is not to my taste.)
While Takemitsu’s early music was firmly rooted in western avant-garde techniques, around 1977, his style shifted, and this later music is different from most 20th century music. These works are about textures, sound sculptures; when you begin listening to one of his works you enter a landscape, you start moving along a path of sound that takes you through a series of musical moments. None of his works are “big”, in the sense of symphonies, but none are small either, like miniatures. Most of Takemitsu’s best music is orchestral works that range from about ten to twenty minutes long; most have evocative names like A String Around Autumn, Spirit Garden, Tree Line, How Slow the Wind. While he composed some piano music and some chamber music, only one CD is needed to contain all of one or the other. He uses the flute and guitar in many works, and his orchestrations are uniquely subtle; while he may use an entire orchestra, he does so parsimoniously, never adding too many layers of music. He creates sonorous melanges of emotion and feeling, rather than melodic structures. His music sounds like that of no other composer.
I hadn’t listened to The Wall in ages, but, this morning, I decided to spin it. I had noticed that Roger Waters is playing four shows in Paris next week, and I was trying to convince my son, who’s doing an internship in Paris, to go see it. (Even if only nosebleed seats are left.) […]
In a discussion today with a colleague about music, I recalled the wonderful years in the late 70s and early 80s when discovering new music was so different than it is now. One discovered music in “record stores” where one would flip through bins of “LPs” or “albums,” and, if one was lucky, one could […]
Johann Sebastian Bach wrote a huge amount of astoundingly beautiful music, from solo keyboard works to cantatas; from small-scale chamber works, to large passions; from music for organ to works for solo violin or cello. But if there’s one work that stands out as a summation of his music it is the Goldberg Variations, a […]
There are some kinds of music that, when you first hear them, sound like they are music that you’ve always heard in your head, but never on a record. That’s how I felt when I first heard Brian Eno’s Ambient 1: Music for Airports shortly after it was first released. The self-effacing title of this […]
Okay, I’m in a 70s music mood these days. Recent posts have been about Genesis and Fela Kuti, both of whom I discovered in the mid to late 70s, as well as Jerry Garcia, whose music has been with me since around 1976 and who, together with The Grateful Dead, is one of the staples […]
Back in the 1970s, as a teenager in New York City, I had amazing opportunities to see concerts by the world’s most popular bands. In the mid-70s, I became a fan of Genesis, the group formed by Peter Gabriel and Tony Banks back in 1967. Around 1976, I discovered their music through their album Trick […]