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GHD Butterfly Red Hair Straighteners 'Boulez Condu

 
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Dołączył: 02 Kwi 2011
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The album ends with ‘Jonestown’, the most challenging composition here. If Schoenberg had been given a digital synthesizer he might have created something that sounded a bit like ‘Jonestown’. Metallic [link widoczny dla zalogowanych], industrial bangs and crashes are set against a background of continuous, ethereal, modulating electronic. Being atonal and with little rhythmic pull, listening to this piece is like being slowly swallowed-up by a thick mist.
A composing commission from Pierre Boulez led to the creation of an album of classical compositions by Frank Zappa. The album consists of seven tracks: three are performed by the Ensemble InterContemporain (Boulez’ chamber orchestra); the other four by the Barking Pumpkin Digital Gratification Consort (Zappa working with a Synclavier digital music workstation).
‘Outside Now Again’ is, as its title hints, reminiscent of Zappa’s song ‘Outside Now’. This slow, dour piece with its insistent plodding rhythm is resolutely morose in tone.
This digital recording from 1984/1985 sounds clean and bright. The textures are very clear and transparent. In the three pieces for chamber orchestra the musicians make a good fist of what is clearly a difficult and demanding musical workout.
The three pieces for chamber orchestra are the strongest of the album. Zappa took “classical” music seriously, and it shows. These are difficult pieces; demanding for musicians and listeners alike.
The album notes contain short satirical descriptions of the images the compositions are supposed to conjure up. Zappa describes the album as consisting of “seven dance pieces”, though they could only be danced to in the context of avant garde ballet and might more accurately be described as programme music.
At the start of the album sit the two chamber orchestra compositions ‘The Perfect Stranger’ and ‘Naval Aviation in Art?’. These tonally adventurous works convey a mood which is dark [link widoczny dla zalogowanych], menacing and powerfully atmospheric.
The four electronic pieces show that, as well as having a strong feel for orchestral textures, Zappa was an imaginative synthesist who managed to create sounds unlike anything to be had from acoustic instrument
Conclusions
‘Dupree’s Paradise’ is possibly the best piece on this album; it is certainly the most flamboyant. The piece conveys a mood of pensive optimism and clearly sounds like American classical music, bringing to mind the work of composers such as Coupland and Bernstein. All three compositions showcase Zappa’s skill at orchestration, particularly his use of percussion.
The chamber orchestra only features a small string section and so sounds percussion and brass heavy. This suits the edgy, biting style of the compositions. These pieces feature rapid switches in mood and rhythm [link widoczny dla zalogowanych], and showcase a range of orchestral colours.
Read on
Biography of Frank Zappa
Alain Trudel Wins Conductor Award
Louis Spohr Life and Works
The remaining four pieces were created electronically. Working with the aforementioned Synclavier (a composition tool consisting of a digital synthesizer, a sampler and a sequencer) Zappa created hard, ugly soundscapes that contrast well with the more sonorous timbres of the chamber orchestra.
‘The Girl in the Magnesium Dress’ is a barrage of ringing percussion sounds, appearing like the output of some kind of electronic mutant glockenspiel. The ironically-titled ‘Love Story’ is built on a series of harsh booming pitch-bends and sounds as if it is slowly being deflated. This piece conveys the gruesome imagery outlined in Zappa’s album notes with alarming clarity.
The Music


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