If you follow my writings, you’ll have noticed that Bob Dylan is one of my favorite musicians. I’ve got all of his albums, and listen to his music a lot. In this recent article, The Music I Listen To Most, you’ll see that Dylan comes up in fourth position, behind The Grateful Dead, Franz Schubert […]
Finnish conductor Einojuhani Rautavaara is enigmatic. His music straddles the line between tonal and atonal, as he dabbled with serialism in the early part of his career, but later discovered his own voice, hyper-romantic and even mystical. I find it hard to describe his music, and compare it to Toru Takemitsu, another composer whose sound […]
(Note: this article is written for Mac users. If you have Windows tools to recommend, please mention them in the comments.) The bit rate debate regarding compressed music is one that will be around for a long time. Some people think that any compression of music files is anathema. Take Neil Young. He complained about […]
Perhaps the most important minimalist work, and one of Steve Reich’s best compositions.
Buy from: Amazon.com | Amazon UK | Amazon FR | Amazon DE If you follow this blog, or read my writing on Macworld, you’ve noticed that, among my varied musical interests, one artist stands out: the Grateful Dead. I’ve been a Deadhead for 35 years, since I first saw the band in the Spring of […]
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.) […]