Bach E-flat Flute (tuba) Sonata Mvt. 3-live recording

IMAGE:  July ‘fire sky’ in Whiteback pine country, Eagle Cap Wilderness, OREGON

"In tua nobilitate stans
sicut aurora procedit. 
Nunc gaude et laetare et 
nos debiles dignare 
a mala consuetudine libe"

SEE at: http://en.wikipedia.org/wiki/Hildegard_of_Bingen

SOURCE OF wolftone at: http://en.wikipedia.org/wiki/Wolf_tone

In a composite w/ HotBITS, a "true random" generator based on radioactive decay.....

SEE TEXTS and more at: http://picture-poems.com/photoweek/lawn-chemicals.html

STRIP MINING MUSIC'S PAST, an essay on the ethics of performance practice

In this episode with Noa Kageyama:

-Noa on nerves and anxiety for the musician/performer. Factors, and causes, solutions.

-Simulation of performance environments in practice, methods.

“The better we know ourselves, the better we know what happens under pressure, the more effectively we can prepare for those things,”

"Performance Practice" and it's definition.

-Not turning off the intensity “switch” when it comes to performances. Dedication.

-Dealing with distractions.

“An excuse really becomes an excuse when you use it to justify not doing more to prepare,”

Thanks to the Electric Violin Shop for supporting the Creative Strings Podcast

Performance Psychology for Musicians w/ Dr. Noa Kageyama  - Creative Strings Podcast Ep.4

THIS IS PART ONE of an audiobook I'm making of David Bohm's (1917-1992)essential, ON DIALOGUE. It's intended for some of my friends and students, and all those interested in exploring nonviolence, ethics, the destructive and divisive nature of thought and thinking, in a serious, sustained way. Both alone, and collectively. I also feel strongly that such a dialogue circle forms the basis of a radically new performance practice in the Arts generally. 

In addition, I'm using ON DIALOGUE with my THEATER OF THE NEW project: SEE ON TWITTER at: https://twitter.com/theaterofthenew

SEE FULL TEXT at pdf [150Kb]: http://bit.ly/1JIleaE


DAVID BOHM: On Dialogue, part one

THIS IS A STUDY piece for my OCTET Project. It's inspired by the WEBERN-BACH Ricercare a 6 voci, one of the hardest pieces I've ever conducted. The challenge is to find and develop a resonant, vocal style of playing as ensemble. And that in a composite texture which is at once simple & complex, at once open [naked] & dense. The problem is that each individual has to know the whole, which is generally not the case if we rush or "end-gain" a piece to concert performance, or become dependent on a conductor. The only really factor keeping us from working this way, it seems to me, is "time" or its contemporary equivalent, "money." If each of the eight players learns to study the score, and the BACH original, by singing all the voices, playing it on a keyboard, making multitrack recordings, etc., a new sense of ensemble sound and performance will very quickly unfold. 

WEBscore is at: http://www.cs-music.com/octet/octet_bach-c-sharp_1.html
DOWNLOAD score pdf is at: http://www.cs-music.com/octet/octet_bach-c-sharp-minor.pdf
DOWNLOAD parts at: http://www.cs-music.com/octet/octet_bach-c-sharp_parts.pdf
DOWNLOAD performance model mp3 at: http://www.cs-music.com/octet/octet_c-sharp-minor.mp3

The idea is to OCTET Project is to set a new standard. LISTEN, for example, to this recording of the WEBERN-BACH below. In my view, with all due respect to the great musicians playing, it's imbalanced in almost every way. Just a mess, really. See what you think....What I'm critical of is NOT the individuals playing, but rather the performance practice itself, as a whole.

♫ BOULEZ plays WEBERN-BACH Ricercare a 6 voci (1935), London http://bit.ly/1zU2lv9 


from OCTET PROJECT, "Arr. BACH fugue in c# minor [no. 4 book I] performance model

Recorded on a 17th-century Italian violin with pure gut E, A, and D strings, and a silver-covered G, and on an Erard Piano made in 1855.

This recording is based on the new Bärenreiter edition of the complete Brahms duo sonatas edited by Clive Brown, Neal Peres Da Costa and Kate Bennett-Wadsworth.

Brahms Op. 120-2/iii - Clive Brown (Violin) & Music Beth

This performance of Brahms Violin Sonata in G major op. 78 is by Clive Brown and Neal Peres Da Costa. It is based on the Bärenreiter edition of Brahms' complete duo sonatas edited by Clive Brown, Neal Peres Da Costa and Kate Bennett-Wadsworth and seeks to achieve a style of performance that would have been familiar to Brahms' contemporaries. The recording was made in Sydney in 2015. The violin is a 17th-century Italian instrument strung with pure gut strings E, A, and D strings, and a silver-covered G string; the piano is a copy of Brahms' own Streicher piano, made by Paul McNulty in 2014. The sonata was inspired by the events surrounding the illness and death from tuberculosis of Brahms' godson Felix Schumann, son of Clara and Robert Schumann.

Brahms Op. 78 - Clive Brown (violin) & Neal Peres Da Costa (Piano)

These 8 songs are the result of the Norwegian Academy of Music's artistic research project Brahms' songs. They present a way of performing based on historical recordings and an 'old style' of making music, common in the 19th century. Read more on nmh.no/forskning/prosjekter/den-tapte-romantiske-tolkningstradisjon/

8 - Märchenbilder, No. 4

6 - Ich Wandte Mich (Vier Ernste Gesänge)

5 - Feldeinsamkeit

Composer. Writer. Photographer. Former conductor & founder of the ASKO ensemble.

On a bike/ski/hike trek of the Pacific Northwest studying native plants & climate breakdown 🌲 from sagebrush sea to whitebark pine. Composing off-grid the whole way.

#Sun2Sound 🌕 on Bluesky

THINKING LIKE A STONEPINE, a soundpoem manifesto https://vimeo.com/844665859

“LOVE & WATER, three thought poems w/ coda, PHAROS for small orchestra, “Nightwind”” https://vimeo.com/847079690 

CURRENTLY on mt bike/ski/climbing trek through Pacific Northwest, working on a photobook about WHITEBARK PINE COLLAPSE and CLIMATE CRISIS. BASES in the WALLOWAS | AMSTERDAM | ALPS. 

WEEKLY photo/poetry updates at www.picture-poems.com & THE CIRCLE IN THE SQUARE new music, poetry & dance performance project at www.cs-music.com

ALWAYS ON THE LOOKOUT for progressive, tech-savy, instrumental virtuosi interested in dialogue & collaborative undertakings.

CONTACT cliff@picture-opoems.com
Or on SKYPE or FACETIME @cliffcrego

MUSIC? The one thing humans do,
that makes the rest of nature jealous.

Tracks here are recorded on period instruments. I am playing a 17th-century Italian violin strung with pure gut strings E, A, and D strings, and a silver-covered G string. 

The Norwegian Academy of Music offers the highest level of education for performers and composers, pedagogues and music therapists. The academy is an artistic and creative centre and provide research within various fields of music.

Christian Howes presents the Creative Strings Podcast: Exploring intersections between creativity, music education, string playing, DIY music business, and culture

Since 2011, performer, educator and composer, Christian Howes was voted #1 in the Downbeat Critics Poll (“Rising Stars/Violin”), named among the top three jazz violinists in the JazzTimes critics poll, and nominated for Violinist of the Year by the Jazz Journalist Association. He received the Residency Partner Award through Chamber Music America for residencies in school orchestras, earned a USArtists grant through the Mid Atlantic Arts Foundation, and was invited by the U.S. State department to teach and perform as a cultural ambassador in Ukraine and Montenegro.  His 2013 release on Resonance Records, “Southern Exposure” earned recognition in the New York Times, Wall Street Journal, Downbeat, Jazz Times, as well as a six-night run at Lincoln Center.  His 2015 release, “American Spirit” was named among the Best Jazz Albums of 2015″ by the Huffington Post. Howes is the founder of “Creative Strings“, a 501(c)(3) non-profit organization with a mission to expand music education through the creation of online curriculum, an annual summer conference, and dozens of visits to schools annually teaching improvisation, contemporary styles, and related subjects. He endorses Yamaha violins and D’Addario strings.

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