a corruption of moonlight
Jul. 19th, 2019 09:44 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
yamamanamaIt started to pour when we got to North Quincy. The chance of rain started at 20%, then 40%, back to 20%, and then jumped up to 50% the day before. As anyone knows, anything above 30% is guaranteed rain.
A woman on the train was learning Hebrew. A woman had peacock earrings. A woman in a purple jacket said I got her best side.
Sara makes collage art and has a skirt with lemons on it and was reading a book for class about how children end up unlike their parents. While this was happening, Brigitte from Jazz Fest ran up to me and showed me that drawing I did of her.
The Tanglewood Institute did things out of order so I had to infer who did what by the gender of the musicians and by their instruments. Like last years, everyone was talking even though they should have known. These aren’t children, either. Also, there were seats that people couldn’t get to so they stayed empty. And I think there were more reserved VIP sets than there were VIPs. And Jordan Hall outsourced their security detail to Castle Troglo. So you have to go around, get a wristband, and you can’t wait there so you have to go back to the main entrance only to be told you can’t wait there either. When they said we could come back, I was expecting them to tell us that nobody said they were open. It has a slight edge over the Church of the Covenant because easy access to shawarma and extra hot rajbhog mix and better acoustics.
bRUMBA!! for bRASS qUINTET and I’m not sure if whoever wrote the booklet pressed caps lock accidentally although I checked and holding shift while caps lock is on doesn’t make a letter lowercase but I swear that on some systems it did, or if the capitalization is intentional, was the first.
Wapango, more accurately huapango, is a Mexican folk dance.
Leah, the bassoonist, had pale seagreen and white hair.
They played Umoja, the first day of Kwanzaa, despite the fact that it’s July, and Carl Neilsen’s menuetto.
The composer, Andrew Sorg, calls Mental Disorders for Triton Bass a love story. It makes sense, as Multiple Personalties opens with a rapid meandering punctuated by a dissonant blarting noise, transitioning into a jazzy romantic waltz on brass instruments, occasionally punctuated by a dissonant blarting noise. What Could Have Been/What Is is slow.
I was going to say this is really expensive for a mp3 but that’s the sheet music.
I don’t think Sorg wrote that baroque-sounding work.
Short Ride in a Fast Machine makes me think less of rocketships and more some kind of celestial steam locomotive. It repeats an ostinato melody with a woodblock keeping rhythm but various instruments break from that rhythm.
Somehow, when Leroy Anderson wrote Summer Skies, I don’t think Wednesday is what he meant, although Thursday would have made even less sense, because at least we got summer storms. Because of the remnants of Barry, it was gray and cold. It wasn't even autumn-wistful, it was just dreary and the only way it could be appropriate is comparing it to Joshua Mooooooon, who is a lot less Josua and a lot more Elias, and a lot less Elias and a lot lot lot more Aspitis Preves.
Also Sprach Zarathustra is a 30 minute tone poem by Richard Strauss made famous in 2001: A Space Odyssey. After its famous Einleitung (Sonnenaufgang) comes Von den Hinterweltlern, where the backwoods/backworlds pun works just as well in English as it does in German, depicting primitive men governed by fear but their inquisitive nature shines through, and the horns quote Credo in unum deum; Von der großen Sehnsucht has a theme of longing in cello and basses overwhelming the Magnificat, played on organs and winds; Von den Freuden und Leidenschaften depicts freedom from dogma and superstitions; Das Grablied rises and falls; Von der Wissenschaft becomes exuberant; Der Genesende has the themes of Nature and Disgust alternate and then go at it; Das Tanzlied is a waltz evocative of his later opera Der Rosenkavalier; Nachtwandlerlied is a flight of fancy, slow in its old age, and Nature remains a mystery.
Joaquín Rodrigo's In Search of the Beyond (A la busca del más allá) was inspired by space exploration, and fragments of themes appear and vanish from a sea of percussion.
Song to the Moon (Měsíčku na nebi hlubokém) from Antonín Dvořák’s Rusalka was sung in well-translated English. In it, the water nymph Rusalka begs the moon to give her the love of the Prince, partially because she’s in love, partially because there’s a curse placed on the two of them. It’s basically Andersen’s The Little Mermaid, except in fresh water. If she read the same story I read as a kid, she wouldn’t be doing that.
John Williams' Close Encounters of the Third Kind stars out with a five note melody, and starts out sounding otherworldly but ends in a more traditional manner.
Philip Glass wrote the score for Icarus at the Edge of Time, a retelling of the Icarus tale in which he flies too close to a black hole and gets too close to the event horizon, gets sucked in and spaghettified, screaming for eternity because of time dilation. Pam, not spaghetti vacation!
At times, this sounds less like space and more like a foundry.
Frank Sinatra’s Fly Me To The Moon was on Buzz Aldrin’s proto-walkman that they’d use to record notes to themselves. It’s also the ending theme of Neon Genesis Evangelion.
Moon River isn’t about the moon, it’s about dreams. It makes Nelson Muntz cry. There aren’t rivers on the moon. There are lakes and seas and swamps and even an ocean, all with wonderfully evocative names, but they are basalt. It was written for Audrey Hepburn in Breakfast At Tiffany’s and made famous by Andy Williams.
In The Still of the Night is by Cole Porter.
On the Green Line, most of the people were speaking Japanese and there was one guy watching a video subtitled in Turkish. It was unexpectedly crowded for 9:15 PM.
There was unexpected busing as well. No signs. Sara, a different Sara, kupo, says that they were doing it on Monday and she found her way back home. I didn’t follow Sara and Jill. This was probably a good idea, because they went the wrong way. I did that too but when I did, there wasn’t construction in the parking lot. I was wondering if I should go after them but I think they were either long gone or had realized.
I sketched a woman on the bus with colorful yarn in her ponytail and a bright blue jacket, which is way too common to be déjà vu, playing with her pendant, which depicted a third eye.
burning question: What's dumb about a temporary black hole that sucks everything into it, then teleports itself to a random location in the galaxy?
A woman on the train was learning Hebrew. A woman had peacock earrings. A woman in a purple jacket said I got her best side.
Sara makes collage art and has a skirt with lemons on it and was reading a book for class about how children end up unlike their parents. While this was happening, Brigitte from Jazz Fest ran up to me and showed me that drawing I did of her.
The Tanglewood Institute did things out of order so I had to infer who did what by the gender of the musicians and by their instruments. Like last years, everyone was talking even though they should have known. These aren’t children, either. Also, there were seats that people couldn’t get to so they stayed empty. And I think there were more reserved VIP sets than there were VIPs. And Jordan Hall outsourced their security detail to Castle Troglo. So you have to go around, get a wristband, and you can’t wait there so you have to go back to the main entrance only to be told you can’t wait there either. When they said we could come back, I was expecting them to tell us that nobody said they were open. It has a slight edge over the Church of the Covenant because easy access to shawarma and extra hot rajbhog mix and better acoustics.
bRUMBA!! for bRASS qUINTET and I’m not sure if whoever wrote the booklet pressed caps lock accidentally although I checked and holding shift while caps lock is on doesn’t make a letter lowercase but I swear that on some systems it did, or if the capitalization is intentional, was the first.
Wapango, more accurately huapango, is a Mexican folk dance.
Leah, the bassoonist, had pale seagreen and white hair.
They played Umoja, the first day of Kwanzaa, despite the fact that it’s July, and Carl Neilsen’s menuetto.
The composer, Andrew Sorg, calls Mental Disorders for Triton Bass a love story. It makes sense, as Multiple Personalties opens with a rapid meandering punctuated by a dissonant blarting noise, transitioning into a jazzy romantic waltz on brass instruments, occasionally punctuated by a dissonant blarting noise. What Could Have Been/What Is is slow.
I was going to say this is really expensive for a mp3 but that’s the sheet music.
I don’t think Sorg wrote that baroque-sounding work.
Short Ride in a Fast Machine makes me think less of rocketships and more some kind of celestial steam locomotive. It repeats an ostinato melody with a woodblock keeping rhythm but various instruments break from that rhythm.
Somehow, when Leroy Anderson wrote Summer Skies, I don’t think Wednesday is what he meant, although Thursday would have made even less sense, because at least we got summer storms. Because of the remnants of Barry, it was gray and cold. It wasn't even autumn-wistful, it was just dreary and the only way it could be appropriate is comparing it to Joshua Mooooooon, who is a lot less Josua and a lot more Elias, and a lot less Elias and a lot lot lot more Aspitis Preves.
Also Sprach Zarathustra is a 30 minute tone poem by Richard Strauss made famous in 2001: A Space Odyssey. After its famous Einleitung (Sonnenaufgang) comes Von den Hinterweltlern, where the backwoods/backworlds pun works just as well in English as it does in German, depicting primitive men governed by fear but their inquisitive nature shines through, and the horns quote Credo in unum deum; Von der großen Sehnsucht has a theme of longing in cello and basses overwhelming the Magnificat, played on organs and winds; Von den Freuden und Leidenschaften depicts freedom from dogma and superstitions; Das Grablied rises and falls; Von der Wissenschaft becomes exuberant; Der Genesende has the themes of Nature and Disgust alternate and then go at it; Das Tanzlied is a waltz evocative of his later opera Der Rosenkavalier; Nachtwandlerlied is a flight of fancy, slow in its old age, and Nature remains a mystery.
Joaquín Rodrigo's In Search of the Beyond (A la busca del más allá) was inspired by space exploration, and fragments of themes appear and vanish from a sea of percussion.
Song to the Moon (Měsíčku na nebi hlubokém) from Antonín Dvořák’s Rusalka was sung in well-translated English. In it, the water nymph Rusalka begs the moon to give her the love of the Prince, partially because she’s in love, partially because there’s a curse placed on the two of them. It’s basically Andersen’s The Little Mermaid, except in fresh water. If she read the same story I read as a kid, she wouldn’t be doing that.
John Williams' Close Encounters of the Third Kind stars out with a five note melody, and starts out sounding otherworldly but ends in a more traditional manner.
Philip Glass wrote the score for Icarus at the Edge of Time, a retelling of the Icarus tale in which he flies too close to a black hole and gets too close to the event horizon, gets sucked in and spaghettified, screaming for eternity because of time dilation. Pam, not spaghetti vacation!
At times, this sounds less like space and more like a foundry.
Frank Sinatra’s Fly Me To The Moon was on Buzz Aldrin’s proto-walkman that they’d use to record notes to themselves. It’s also the ending theme of Neon Genesis Evangelion.
Moon River isn’t about the moon, it’s about dreams. It makes Nelson Muntz cry. There aren’t rivers on the moon. There are lakes and seas and swamps and even an ocean, all with wonderfully evocative names, but they are basalt. It was written for Audrey Hepburn in Breakfast At Tiffany’s and made famous by Andy Williams.
In The Still of the Night is by Cole Porter.
On the Green Line, most of the people were speaking Japanese and there was one guy watching a video subtitled in Turkish. It was unexpectedly crowded for 9:15 PM.
There was unexpected busing as well. No signs. Sara, a different Sara, kupo, says that they were doing it on Monday and she found her way back home. I didn’t follow Sara and Jill. This was probably a good idea, because they went the wrong way. I did that too but when I did, there wasn’t construction in the parking lot. I was wondering if I should go after them but I think they were either long gone or had realized.
I sketched a woman on the bus with colorful yarn in her ponytail and a bright blue jacket, which is way too common to be déjà vu, playing with her pendant, which depicted a third eye.
burning question: What's dumb about a temporary black hole that sucks everything into it, then teleports itself to a random location in the galaxy?
