Arnold dreyblatt and the orchestra of excited strings - propellers in love - Pearls Before Swine | Drag City


His compositions are based on harmonics, and thus just intonation, played either through a bowing technique he developed for his modified bass, a children's piano he specially tuned, or conventional instruments. He originally used only a steady pulse provided by the bowing motion on his bass… read more

In the 1980s The Bongos used the EBow in the intro of their song "Numbers With Wings" and also in "River To River", "Miss Jean", "Glow", "Flew A Falcon" and "Sweet Blue Cage". Frontman Richard Barone continues to use an EBow on his subsequent solo recordings and much of his production work including his songs "Love is a Wind that Screams" and his cover of T. Rex 's "The Visit". [1]

Passionate, prolific, and complicated, composer David Lang embodies the restless spirit of invention. Lang is at the same time deeply versed in the classical tradition and committed to music that resists categorization, constantly creating new forms.

this was written by hand was written for pianist Andrew Zolinsky and was premiered June 23, 2003 at Wigmore Hall in London. It is dedicated to Peter Helm, in honor of his 50th birthday.

David Lang on this was written by hand :
"I was taught to write music with a pencil. I remember those days so well - I would sit patiently at my desk, singing the music to myself and then writing it down. If I was tense about a project or a deadline I would hold the pencil so tight that I would get blisters on my fingers, and my arm would cramp up, and take weeks to recover. Writing music was an intensely physical activity. I got my first computer in 1993 and I have not written music with a pencil ever since, but I often wonder how - or if - the means of my writing had any effect on the writing itself. I wrote this piano piece to find out."

David Lang on memory pieces :
"One of the horrifying things about growing older is that your friends don't all grow older with you. People get sick and then they die. You watch, you try to comfort them, and then you try to comfort yourself. The true horror is that after a while your memories begin to fade. How long can you hold on to the sound of a voice, the memory of a strange event, a bittersweet feeling, a silly story? I was friends with all the dedicatees of the enclosed set of pieces - some were closer friends than others - and I have very personal memories of my dealings with them that I don?t want to fade. Each of these little pieces highlights some aspect of my relationship with each friend. I hope this will help me hold on to these memories just a little while longer."

The founders of New York experimental music group Bang on a Can created Cantaloupe Music to provide a home on silvery disc for music that doesn’t fit easily into record-store bins. So it’s a little surprising to hear Arnold Dreyblatt’s The Adding Machine, the sixth release on Cantaloupe, and realize that these compositions are solidly within the near-canonized tradition of American minimalism. Pulsing, driving, modulating rhythmic cells; two- and three-note motives gradually expanded and elaborated to produce lush, layered textures; a near-trance state for the engaged listener, forgetting yourself in the frenetic chirping of “meantime” or the solid thump of the title track. Dreyblatt does it well, as you can probably tell, but it’s all so…1975.

What keeps Dreyblatt avant of the garde is not his compositions but his instruments, as grouped under the name the Orchestra of Excited Strings. In addition to old standbys like violin and cello, the orchestra features a “cimbalom,” which Dreyblatt describes as “a rebuilt and restrung prewar Chinese children’s piano, which is played here horizontally with hand-held hammers”; the bass violin, a violin strung with steel wire and played with a bass bow; a massively modified electric guitar; and a hurdy-gurdy. They all play in a microtonal scale (20 tones to the octave) of Dreyblatt’s own invention. The result is a never-ending succession of stimulating timbres; Dreyblatt knows exactly how to deploy his resources in ear-tickling ways, and the maximally varied sounds mesh well with the minimalist compositions.

Count The Adding Machine as yet another great Cantaloupe release, and one that proves that substance plus flavor can be exciting indeed.

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Arnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In LoveArnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In LoveArnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In LoveArnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In Love

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