tag:blogger.com,1999:blog-8827040061563065922.post8331976591413537008..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Moment Form, Mobile and Night RainBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8827040061563065922.post-88194699991168500062018-12-16T12:13:33.538-06:002018-12-16T12:13:33.538-06:00Richard, how great to hear from you! I was just wa...Richard, how great to hear from you! I was just watching a Victoria Symphony video the other day and noticed your familiar face. I feel exactly the same about this piece and, in fact, for the first time in my career, wrote a similar passage in a new piece of mine. This was for violin and guitar and I had eight cells for each instrument and all that was repeated (different the second time, of course), then there was a brief coda consisting of a new cell for each instrument. The aleatory section actually functions as a kind of development in the piece and uses little fragments from the rest of the piece.<br /><br />I used to have your email, but it seems to have disappeared. Mine is bryantown@gmail.com. Send me an email and I will send you the aleatory section from my piece, Dark Dream. I just got back from Toronto where I recorded it with this terrific violinist, Valerie Li.<br /><br />Are you still in touch with Tony Genge?Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-36535104696105329632018-12-16T11:52:15.171-06:002018-12-16T11:52:15.171-06:00HEllo Bryan. Having just read your comments about ...HEllo Bryan. Having just read your comments about Tony Genge's Night Rain and our performances and recording of it, I thought I would add a brief word. Yes, we recorded it in one take, on tape. Gone are those kind of recordings!<br /><br />I still love this piece of Tony's and have always wondered about how it works. Obviously Tony composed the fragments so they would fit together..somehow. I've wondered, could there be "good and "bad" performances, aside from obvious technical things? I used to love performing the piece because I felt as if I was an improviser (Tony is a first rate jazz musician). It seemed to me that the performer's choice of which fragment to play was based on his reaction to the other player's choices, and that the exact timing,placement, phrasing and timbre had to be "felt" in relation to the other part as well. If these choices were all sensitively made on the spot, and successfully executed, then you had a good performance. I saw it very much as a Zen performance; one had to be in that kind of state. However, maybe Tony's composition was just so good that no matter what you did, you couldn't go wrong!<br />Richard VoletR. Volethttps://www.blogger.com/profile/01945159004515753378noreply@blogger.com