Nico Muhly » Solo

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Nico — Fri, 18 May 2007 15:38:37 +0000

Radiant Music Ordering arimidex without prescription, was written for Alice K. Nebraska NE Nebr. , Dade at her request for a short recital piece. The tape part is made up of several episodes of shimmering music for electric flutes, billige arimidex apotek, Comprare arimidex, dulcimers, organs, ordering arimidex no prescription, Cheap arimidex online without prescription, baroque strings, trumpet, Delaware DE Del. , Pharmacy arimidex, and choir. This piece is focused on a simple progression of three chords; this progression appears in the sequence that opens the piece, buy arimidex. Cheap arimidex online cheap, This sequence reappears in each episode as a harmonic goal for the flute, whose part circumnavigates it but never hits it exactly, arimidex pills. Also at play in Radiant Music is a notion of fast music that moves slowly versus slow music that moves quickly, ordering arimidex without prescription. Arkansas AR Ark. , This is most evident in the "Throbbing" music which is very fast, but has an immensely slow harmonic motion, buy arimidex online cheap, Arimidex ordine on-line, and in the conclusion, which is made of one chord reworked over a long stretch of time, New Hampshire NH N.H. . Osta alennus arimidex, Radiant Music is dedicated to Alice K. Dade, Acheter en ligne arimidex. Order arimidex no prescription, Performance Notes
Radiant Music requires a pair of stereo speakers, placed as far apart on the stage as possible, cheapest arimidex prices. Wyoming WY Wyo. , The tape requires manipulation twice during the piece: at the start and conclusion of the cadenza. If possible, ordering arimidex online legally, Washington WA Wash. , an assistant should execute this pausing and recommencing, but if necessary, buy arimidex from canada, Arimidex farmacia a buon mercato, the performer can control the tape from the stage. Texas TX Tex. . παραγγείλετε online arimidex.

Honest Music

Nico — Wed, 16 May 2007 20:39:32 +0000

On the page, the violin part for Honest Music looks something like Terry Riley's In C, insofar as it's a collection of discrete, modular phrases to be recombined in "performance," or in this case, by the electronic manipulation of the recording--but these aren't Riley's musical Lego blocks; most of these are long, expressive, idiomatic gestures, combining Nico's soaring English-choirboy diatonicism with Romantic, violinistic leaps and slides up and down the fingerboard. As these figures pile on top of each other, the close-miked, aberrant fiddle timbre comes to seem, as per the title of the piece, brutally candid. The other fragments, imitated in character by the sputtering harp and percussion of the accompaniment, sound more like scraps swept from a cutting-room floor somewhere - all false starts, warm-ups and afterbeats - and the glitchy, staticky noises in the background contribute to the sense of something rough, half-finished. The result is to suggest that all of Honest Music is an out-take, a rehearsal for another, wholly imaginary piece. But the gravity and authority of the harmonies (and the low drones) lend the makeshift nature of the piece an authentic drama in its own right: the sad beauty of things coming together and things falling apart. Performance Notes The irregularities in the tuning of the pre-recorded organs are intentional and should be loosely followed; in general, however, the spirit of the solo "live" part should be much more aggressive and forward than the pre-recorded violins. [audio:03 Honest Music Excerpt.mp3] Lisa Liu, violins Monika Abendroth, harp Nico Muhly, keyboards Honest Music is recorded on Bedroom Community Hvalur 001 (Nico Muhly Speaks Volumes).
Una SveinbjarnardÃ³ttir plays Honest Music in Rotterdam, April, 2007

It’s About Time

Nico — Wed, 16 May 2007 03:52:51 +0000

It's About Time has two sets of attendant notes, one by Sam, for whom it was written, and one by me. Performer's Note It's About Time was written for percussionist Sam Solomon. It's about time, the piece is. It's also about time Sam asked Nico to write a solo piece - the first time since some vibraphone solo Nico wrote in 1996 or 97 in high school. There was a timpani piece too, also in high school. After probably dozens of other collaborations of all shapes and sizes, the time came in the spring of 2004 for another Nico solo for Sam. Like much of the percussion repertoire, time (rhythm) takes center stage as the primary compositional element, namely though various additive procedures. These additive procedures, however, are clouded, or actually they're "colored," by Nico's enormous and infectious personality, as is the pitch material, orchestration, and form. If you know Nico and/or his music, you know what I'm talking about. And that's what it's about. "“ Program Note by Sam Solomon (for use by Sam Solomon only) Program Note: It's About Time was written for Sam Solomon, one of my oldest collaborators. Some of the first music I wrote, I wrote for Sam, so when he asked me to write a solo for him in 2004, I started thinking about the sort of thing you cook for your best friends - food from the pantry, not designed to impress: the company itself is the point of the encounter. It's About Time is precisely that: staples, things I know that I do well, and things I know Sam (and, by hopeful extension, any percussionist) does well. It's About Time lasts 9 minutes and is dedicated, with many thanks, to Sam Solomon. Performance Note It's About Time was written for a setup detailed here as "Setup #1." All setup notes should be scrupulously observed as outlined on the website. [audio:ItsAboutTimeLive.mp3] Live Recording Sam Solomon, percussion Sam & Nico

Pillaging Music

Nico — Wed, 16 May 2007 03:03:23 +0000

Muhly names Pierre Boulez as the inspiration for Pillaging Music, and it's easy to hear the influence of pieces like Sur-incises and RÃ©pons on this metallic piano/percussion texture, with its wild, electronic antiphony. But where Boulez's music wears, self-consciously, the sheen of the new, Pillaging Music has been painstakingly distressed. The percussion is complemented by a battery of found instruments, household objects chosen to approximate the pitches of the other instruments without matching them exactly. And the tape component was edited (by the composer and Valgeir Sigurðsson) with an ear-popping ruthlessness. More obviously, where Boulez's convulsive rhythms and atonal harmonies reject the familiar, inhabitable spaces of classical music"”"He takes the gargoyles," composer Ned Rorem complained after hearing RÃ©pons, "and leaves the cathedral""”Muhly is willfully humane, pushing the drama of his tonal language across the threshold of camp. The aggression is ritualised, mitigated by an excess of style. A hushed, reverent interlude demonstrates that Muhly could never leave the cathedral too far behind, before the instruments literally race"”Nancarrow-like"”to the piece's rhythmically virtuosic conclusion. - Notes Â© 2007 by Daniel Johnson Pillaging Music is recorded on Bedroom Community Hvalur 001 (Nico Muhly Speaks Volumes). [audio:05 Pillaging Music Excerpt.mp3] Sam Solomon, percussion Nico Muhly, keyboards Nico & Sam during Pillaging Music rehearsal, Zankel Hall, 2007 Sam recording Pillaging Music in Brooklyn, 2006 Nico & Valgeir playing Pillaging Music in Rotterdam, April, 2007

It Goes Without Saying

Keep in Touch

Nico — Tue, 15 May 2007 14:46:48 +0000

Keep in Touch is a lament, a sort of chaconne divided up into sections by more freely-composed cadenzas for the viola. But the chaconne, a musical form based around a repeated cycle of chords, is not only the domain of composers like Bach and Purcell"”one is as likely to hear the form on a Nina Simone record, and Antony Hegarty, the bluesily androgynous vocalist we hear in the electronic component of this piece, is a performer from the Simone school. Every dimension of the piece accentuates what Muhly calls the "in-betweenness" of these two strange voices: Antony's singing and the equally sweet falsetto of the viola. The solo part, with its bow-scrapes and awkward passagework, affectionately emphasises the instrument's flaws, its unevennesses of tone, and its idiosyncratic character as the neglected middle child of the fiddle family. (Even the percussion on the electronic track is constructed from the little noises a violist usually makes only by accident.) And Antony's voice, so stately on his own records, is here reduced to abrupt, extemporaneous gestures"”mirroring, not alleviating, the viola's isolation. - Program Notes Â© 2007 Daniel Johnson Performance Notes It is important that the viola be lightly amplified in order to achieve a good balance with the pre-recorded materials. Although the best results have been with a microphone clipped to the bridge, anything to subtly boost the viola's volume is appropriate provided that both the viola and the pre-recorded elements come out of the same speakers. Because it is usually cumbersome for the violist to trigger the tape start in bar 46 herself, an assistant and/or engineer should be on hand. Additional Program Note The complete title of this work is Keep in Touch (Three Missed Calls for Holy Week). The title should only be listed in a program as such if it is performed during Lent; during other times of the year, Keep in Touch is sufficient. Keep in Touch is recorded on Bedroom Community Hvalur 001 (Nico Muhly Speaks Volumes). [audio:07 Keep In Touch Excerpt.mp3] Nadia playing Keep in Touch in Reykjavík in October, 2006. Recording Keep In Touch at the Looking Glass Studios in April 2005, with Valgeir reflected in the control room window.