Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

The Nerve Bible

Lembro-me de ver Laurie Anderson nesta tournée em Lisboa, no Coliseu, creio. Já a conhecia, já gostava, nunca mais a larguei. Entretanto comprei também o livro em segunda mão. Gosto muito da estética bootleg dos anos noventa do vídeo. E o som aguenta-se.

E aqui há uma transcrição completa do espetáculo. This is the time and this is the record of the time.

Laurie Anderson - The Nerve Bible (1994-1995)
The Music Hall, Kansas City, Missouri - March 9th 1995

John Ashbery - Spring Day

The immense hope, and forbearance
Trailing out of night, to sidewalks of the day
Like air breathed into a paper city, exhaled
As night returns bringing doubts
That swarm around the sleeper’s head
But are fended off with clubs and knives, so that morning
Installs again in cold hope
The air that was yesterday, is what you are,
In so many phases the head slips form the hand.
The tears ride freely, laughs or sobs:
What do they matter? There is free giving and taking;
The giant body relaxed as though beside a stream
Wakens to the force of it and has to recognize
The secret sweetness before it turns into life—
Sucked out of many exchanges, torn from the womb,
Disinterred before completely dead—and heaves
Its mountain-broad chest. “They were long in coming,
Those others, and mattered so little that it slowed them
To almost nothing. They were presumed dead,
Their names honorably grafted on the landscape
To be a memory to me. Until today
We have been living in their shell.
Now we break forth like a river breaking through a dam,
Pausing over the puzzled, frightened plain,
And our further progress shall be terrible,
Turning fresh knives in the wounds
In the gulf of recreation, that bare canvas
As matter-of-fact as the traffic and that day’s noise.”
The mountain stopped shaking; its body
Arched into its own contradiction, its enjoyment,
As far from us lights were put out, memories of boys and girls
Who walked here before the great change,
Before the air mirrored us,
Taking the opposite shape of our effort,
Its inseparable comment and corollary
But casting us further and further out.
Wha—what happened? You are with
The orange tree, so that its summer produce
Can go back to where we got it wrong, then drip gently
Into history, if it wants to. A page turned; we were
Just now floundering in the wind of its colossal death.
And whether it is Thursday, or the day is stormy,
With thunder and rain, or the birds attack each other,
We have rolled into another dream.
No use charging the barriers of that other:
It no longer exists. But you,
Gracious and growing thing, with those leaves like stars,
We shall soon give all out attention to you.

Sobre o novo do Julian Barnes, Shostakovich, novas maneiras de ouvir música, a lentidão e títulos longos.

the noise of time.jpg

Li o novo do Julian Barnes, "The Noise Of Time", cuja personagem central é Dmitri Dmitriyevich Shostakovich, o compositor. Aconselho vivamente: a personagem, o contexto histórico, a arte, a música, tudo é interessante. E a escrita de Barnes faz a tudo grande justiça.

Ando também a ler "Every Song Ever: Twenty Ways to Listen in an Age of Musical Plenty" de Ben Ratliff. E como acontece, nestas coisas, os dois ligam-se, para já, pelo Quarteto de Cordas No. 15 do compositor russo.

Ratliff propõe que, num momento da história em que temos (quase) toda a música digital e instantaneamente disponível para nossa audição, isso muda radicalmente a nossa maneira de ouvir e que não vale a pena ficarmo-nos por categorias como género, período histórico, compositor, intérprete, história. Vale a pena procurar categorias novas para explorar esta paisagem musical.

Não sei se as categorias são assim tão novas mas isso nem interessa muito. A verdade é que a maneira como ouvimos música mudou e continua a mudar. Notem-se estas notícias de Janeiro que apontam para que a música em catálogo, a música antiga, já editada, vendeu mais que a música nova, editada em 2015, pela primeira vez na história do registo destas vendas. Digo sempre nas minhas aulas como o catálogo é importante na indústria de conteúdos. Hoje, como nunca antes, a história (a da música, pelo menos) está de facto na ponta dos nossos dedos. O que me leva sempre a Laurie Anderson e à sua pergunta em "Same Time Tomorrow", is time long or is it wide?

Note-se também, neste artigo do New York Times, que, se a música nunca foi apenas música mas parte de um contexto, neste momento, com uma paisagem digital instantânea e omnívora, é cada vez mais coisas, de maneiras diferentes, envolvendo-nos, penetrando-nos, devorando-nos. E para onde nos conduz o seu futuro? Neste caso, falamos sobre música popular, claro.

Ben Ratliff, no entanto, sem fronteiras, no seu capítulo sobre a lentidão, menciona Shostakovich e o seu último quarteto para cordas, o quarteto n. 15. Abaixo do vídeo abaixo está um pequeno guia de audição em inglês que o acompanha, para quem tiver a paciência (qualidade essencial para a lentidão) de lá chegar. Gostava, contudo, de deixar já duas notas. Todos os seis movimentos estão marcados como Adagio, no que diz respeito ao tempo. E em relação ao primeiro movimento, Shostakovich terá dito "Play the first movement so that flies drop dead in mid-air and the audience leaves the hall out of sheer boredom", com sentido de humor, piscadela de olho e tudo (o Barnes também fala disso). Mas ora, toda a música revolucionária está cheia de gente que deixa as salas a meio ou provoca motins.

Última nota antes de vos deixa com a música. A banda inglesa The 1975 (que estará em Portugal em Julho) chegou esta semana ao número 1 do top 100 da Billboard com o seu álbum "I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It" que, ao fazê-lo, bateu o recorde de título de álbum mais longo a chegar a tal lugar. Ah, a maravilha dos recordes.

E agora, o Quarteto para Cordas No. 15 em Mi bemol menor, op. 144, escrito em 1974 (belo ano) de Dmitri Dmitriyevich Shostakovich tocado pelo Emerson String Quartet.

- Composer: Dmitri Dmitriyevich Shostakovich (25 September 1906 -- 9 August 1975)
- Performers: Emerson String Quartet
- Year of recording: 1994 (Live at Harris Concert Hall, Aspen, Colorado, USA)

 

String Quartet No. 15 in E flat minor, Op. 144, written in 1974.

 

00:00 - I. Elegy: Adagio
12:42 - II. Serenade: Adagio
18:28 - III. Intermezzo: Adagio
20:07 - IV. Nocturne: Adagio
24:38 - V. Funeral March: Adagio molto
29:14 - VI. Epilogue: Adagio

 

This was Shostakovich’s last string quartet, and one of the most moving of all his compositions. Like most of the composer’s late works, it is an introspective meditation on mortality, and it is arguably the most intimate and cryptic quartet in the cycle. The profound melancholy of the music is akin to a requiem. His concern with death is clearer here than in any other chamber work. The composition was started in February 1974 and completed three months later in a Moscow hospital on 17th May 1974. The quartet is written in the mysterious but traditionally morbid key of E flat minor and bears no dedication. It was premiered in Leningrad by the Taneiev Quartet on 15 November 1974 (one of only two Shostakovich quartets not premiered by the Beethoven Quartet).

 

- "Play the first movement so that flies drop dead in mid-air and the audience leaves the hall out of sheer boredom"...were Shostakovich’s strange instructions for its performance, but his advice can be understood when the movement is heard. The elegy is sombre, unhurried and peaceful. It starts with a fugue, but this quickly ceases after all four voices have been heard. The second theme is in C major and suggests the innocence of the first quartet. But the music seems not to progress. It seems that time has ceased; that we are in a platonic world of perfection and beauty, where change is impossible; an incorruptible world of motionless eternity.
- The opening of the next movement, the serenade, remains indelibly in the memory. The motionless world of the elegy is scattered by four sets of three searing cries that break out one after another from the first and second violin and the viola. The first is in B flat and refers back to the 13th Quartet which ended on a similarly sustained pitch. Each, equal in duration, start ppp and expand to sffff. Are they screams of anguish? Their significance is not revealed but their effect is to introduce change and motion; time is moving again. These cries recur during the movement, before a tortured waltz appears.
- Then the next movement begins, an intermezzo, introduced through a deep pedal, and a dramatic solo violin cadenza occurs before...
- the nocturne emerges. A simple march rhythm becomes apparent which leads to...
- the funeral march. Slowly, however, the passion subsides and...
- the final movement, the epilogue, begins. This movement based on the final eight bars of the first recalls its sense of timelessness although without making reference to its fugue. The music, depleted of energy, culminates in a fateful and bleak viola solo only to terminate in a despairing morendo.

 

Approximately 35 minutes in length, the work is unforgettably death-bonded. We sense that these are the composer’s final words and that the whole cycle of quartets has terminated. We have traveled from the innocence of the first quartet into a world full of memories, pain, resignation, peace and death. Significantly too, but only to be expected from this composer, we know that with the key signature of six flats we cannot travel any further: we are now at the greatest tonal distant from the C major of the first quartet; the journey took 36 years.

Chairlift - Crying in Public

"Crying In Public" taken from Chairlift's new album MOTH - out now

Director: Allie Avital
Producer: Andrew Krasniak
Assistant Director: N. Ozum Demirel Armagan
Art Director: Caroline Polachek
Director of Photography: Ashley Connor
Production Designer: Emma Rose Mead
Production Company: Partizan
Executive Producer: Jeff Pantaleo
Director's Rep: Nicole O'Connell

1st AC: Karli Kopp
2nd AC: Sonja Tsypin
Gaffer: Tom Chaves
Stylist: Kat Typaldos
Assistant Stylist: Fiona Breslin
Patrick Stylist: Jill Martinelli
Hair and Makeup: Stephanie Peterson
Production Assistant: Spencer Pazer
Production Assistant: Wyatt McBride
Intern: Jason Gaines
Intern: Devan Joseph
Color Correction: Jaime OBradovich / Company 3
Sound Design: Gisela Fulla-Silvestre
VFX Animation: b.art vfx studio
Graphics/Stabilization: Eric Epstein

Thank you: David Casavant Archive