Also note entries from earlier this year.
I only recently started using Bandcamp, but I have become very enthusiastic about it. I have purchased a number of albums by artists who are on Bandcamp.
Now Bandcamp has taken a position on the Muslim Ban, and is donating all of its share of profits from sales on Friday, February 3, to the ACLU.
I will buy many things on that day.
Compare and contrast:
What can we do on our own? What can we do in small groups? How do we enlarge a creative culture which recognizes common cause even without coordination?
What can we do to work with other agents of change from completely different backgrounds, with completely different skills? How can we work together?
I’m not talking about abstract ideas. I’m talking about concrete work.
What the products of that work will be is up to us.
But I have to do something more than what I’m doing, and art is what I’m good at.
If you’re reading this, and you feel this, then let’s start with this question: how can we help?
Thus begins the work.
Went to this last night.
J.S. Bach, Eliot Carter, Robert Schumann.
Not one of my more favorite Tuesday night recitals, but I don’t go to necessarily have my tastes flattered.
Brandenburg Concerto No. 4: one of the all-time chestnuts. Grew up hearing it. Never actually witnessed it performed live. Given my semi-recent (re)engagement with Bach, I was intrigued to see how this would go down.
Within about seven notes, I was losing a little interest in that project.
The 16th notes.
Jesus lord the 16th notes.
They never end.
I was however slightly stoked to realize the first movement is in 3/8…or is that 3/4? Yay for not being 4/4.
I was really here for the Carter.
Not as knotty as I expected. Much more easily comprehensible than I expected. With a bigger harpsichord than the Bach ensemble!
I am re-re-re-reconfirmed in my distaste of harpsichord, especially in a hall. Just…no. As much as I want to really dig this piece of music, the timbre of that instrument just doesn’t sit well with me. It has no real attack. It has AN attack, a sudden rise in amplitude, that settles instantly in to this dull sustain, and sits there for a moment, and then dies. If you play more than one note at a time, it’s mush.
I understand this is part of the point of the piece–to employ this timbre–and I admire the decision on a conceptual level; I really do. But…I can’t.
Schumann: boilerplate classical music.
I was in a hurry for it to end so I could go to sleep.
Is that undignified?