SONG OF STORMS 3

The second single from Static Deviations. Full album on April 12

Bandcamp Pre-order: https://jamesonnathanjones.bandcamp.com/album/static-deviations
Spotify: http://bit.ly/fragmentpresave

Static Deviations

Fragment

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Spring Rain

Spring Rain by Louis Anthony deLise

Feliz Dia Del Nombre Carlos

Dance of Iscariot-Honors Orchestra

Art: https://www.pixiv.net/member_illust.php?mode=medium&illust_id=73044678

Apathy


This is considered one of the Spikeman's most personal compositions, deeply illustrating his ongoing battle with irrelevance, the anguish resulting from it, and his experience in seeing the Divine Spikeman's hopeful light in his darkest moments. By the end, the crowd that remained gives a full standing ovation. Please, enjoy.

By facing away from the piano and using the long spikes on his back, Spikeman is capable of playing with great dexterity at the cost of knowing which keys he's playing. Because of this, piano playing presented an extremely difficult learning curve for him, but despite his handicap he has brought himself to the level of a professional classically-trained musician.

The Spikeman's "Divine Impromptu" Op 19 no. 99

An Ocean Between Us

Nocturne 1 In B Major (Calm Night)

Maryanne Amacher's Petra, available for pre-order here: https://blankforms.org/publications/

Maryanne Amacher (1938 - 2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of the genre. Amacher’s work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature it has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental collection OHM: The Early Gurus Of Electronic Music (1948-1980), this publication of Amacher’s 1991 piece Petra marks her first commercially available instrumental work as well as the first time her music has ever been available on vinyl.

Petra was originally commissioned for the ICSM World Music Days in Boswil, Switzerland. Written for two pianos, the piece is a unique example of Amacher’s late work, a direct extension of her working methodologies for electronic composition taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. Petra is a sweeping, durational work based on both Amacher’s impressions of the church at Boswil and science-fiction writer Greg Bear’s short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame.

This solemn interpretation of Petra was recorded at its 2017 American premiere at New York’s St. Peter’s Episcopal Church with pianists Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in 2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the constellation of Amacher’s enigmatic oeuvre.

Artistic director of the Giacinto Scelsi Festival in Basel, Marianne Schroeder is a Swiss composer and pianist specializing in the interpretation of New Music. She has collaborated with and premiered work by John Cage, Karlheinz Stockhausen, Dieter Schnebel, Anthony Braxton, Morton Feldman, Pauline Oliveros and Giacinto Scelsi, with whom she studied. She is currently a professor at Hochschule der Künste Bern, and has also taught at the International Summer Courses in Darmstadt.

Stefan Tcherepnin is an American electronic music performer, contemporary artist, and composer in fourth generation, continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin. As a family friend of Amacher’s and a student of hers at Bard College he is uniquely qualified to navigate the labyrinth of Amacher interpretation.

Maryanne Amacher: Petra excerpt 1

Clouds

This piece is a musical mapping of a journey through depression and sorrow to a path of solace and a sense of peace.  The setting begins with the composer detailing weeping through the various textures set forth in the different voice parts. Along the way, the piece struggles with the pain of loss but becomes enlightened by the epiphanies of things gained while in the dark valleys of life.  As in life, the path from depression or sorrow to peace is never a linear one.  The piece reflects this in the first climax as the composer begins to dramatically proclaim "I've gained more than I've lost," as a means of combating the undertones of grief, anxiety, defeat, confusion and mystery in which the piece began. After being convinced by the above plea, the composer begins to recollect the tangible and intangible blessings found in the midst of the storms of life.  This recollection leads the composer to finally find some semblance of ever allusive peace.  The calm in the storm is attained as the piece borrows a refrain from the soulful spiritual "Peace Like A River."  The piece ends as it began with a sense of weeping, however this time it's not borne of hopelessness, rather a sincere appreciation for the journey.  This reflects the title of the song as the composers tears are now a testament of perseverance, endurance, and restoration.  The conclusion of the piece is not that of happily ever after, rather a duality of hope and sorrow, light and darkness, pain and joy.  Tears are not a sign of weakness nor of defeat, rather its our mind's and body's way of processing the trauma that comes with the ups and downs of life.  It is the composers hope to relate to the hurt and pain of those who battle depression and sorrow while leading them on a journey from the initial pain to the nuggets of hope and encouragement that await along the way.  It's okay to cry while entering the storm, it's necessary to cry during the storm, and it's relieving to cry after the storm.  The key is understanding the storm has an end and you will be made stronger for having endured.  Enjoy this musical journey through the battlefield of the mind and share it with those enduring the throes of life.  Let them know that you are here to endure with them and hope awaits them.  They may even find that hope in the form of a tear.  It could be a single short lived solemn tear, it could be weeping, it could be in the form of laughing tears, or it could be tears while in the arms of someone you love. However you process the grief, remember it's just a process and not the end.

Tears

Byrd Song

From my EP, "Some Place To Be".
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Artwork: Masoud Hamed

Some Place To Be [Full EP on Spotify]

Piano Day single by Japanese composer and pianist Daigo Hanada

Stream on Spotify: http://bit.ly/dh-fernweh
Download: https://modernarecords.bandcamp.com/album/fernweh

Composed and recorded by Daigo Hanada 
Piano: Daigo Hanada 
Mastered by Martyn Heyne

Fernweh

Daigo Hanada - Fernweh

Grace Choi's Album

How Great Thou Art

[piano] LIFELIGHT

Rhapsody In Blue

Single taken from the upcoming "Chrysalide" by Dominique Charpentier. 
Out on March 29th!

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