Violahexy now on line

My new piece, Violahexy, which was premiered at the Moscow
Conservatory is now on line!

It uses the following series of pitches derived from "stellated"
hexanys: 1/1, 35/32, 9/8, 5/4, 21/16, 45/32, 3/2, 105/64, 27/16,
7/4, 15/8, 63/32, 2/1.

The work is performed by Vera Gubenkova, viola.

http://artists.mp3s.com/artist_song/1416/1416053.html

_________ ______ _____ _
Joseph Pehrson

Joseph Pehrson wrote,

<<My new piece, Violahexy, which was premiered at the Moscow
Conservatory is now on line!>>

Hi Joe,

I think this is definitely my favorite of your microtonal pieces --
which is really starting to pile up to a very nice collection.

It's got that droll thing I usually associate with your writing and a
nice bit of grimness as well... I really like the nicey, sweet
sevenish (as in 7-limit) sections too.

Hey, what's with all that paper flipping or seat twitching or foot
dragging... ?

Thanks for posting this Joe, and keep up the good work!

--Dan Stearns

--- In tuning@y..., "D.Stearns" <STEARNS@C...> wrote:

/tuning/topicId_20628.html#20653

> Joseph Pehrson wrote,
>
> <<My new piece, Violahexy, which was premiered at the Moscow
> Conservatory is now on line!>>
>
> Hi Joe,
>
> I think this is definitely my favorite of your microtonal pieces --
> which is really starting to pile up to a very nice collection.
>

It's all I seem to be able to do right now!

> It's got that droll thing I usually associate with your writing and
a nice bit of grimness as well... I really like the nicey, sweet
> sevenish (as in 7-limit) sections too.
>

Thanks so much, Dan, for your commentary. The piece, to me, is now a
little like a funhouse mirror, actually a rather "frightening" one...

Sometimes I hear the piece the way it is intended, as an expansion of
the sound continuum and then, sometimes, reverting back to
my "training" I simply hear it as "out of tune."

Fortunately, the former perception is starting to win out,
particularly since I am totally bored with doing the 12-tET thing or
hearing it anymore... but it's funny how perception changes depending
on the mood!

> Hey, what's with all that paper flipping or seat twitching or foot
> dragging... ?
>

What?! You didn't realize that was part of the piece?? That was the
"John Cage angle..." No, but seriously, the problem was that the
actual premiere at the DOM performance space in Moscow was marred.
Well, the violist dropped her bow, to a very loud "clack." That will
do it every time. Somehow, still,she only missed a few measures...

So, THIS second performance was done right in the electronic music
studio (the "Theremin" Studio) of the Moscow Conservatory. It was a
live audience and they were actually passing around papers with
lattices on them... which I had given them and which they had never
seen before!

Maybe we'll eventually get a "state of the art" recording...

> Thanks for posting this Joe, and keep up the good work!
>
> --Dan Stearns

Thanks so much, Dan, for your commentary and discussion, as usual.
It's very helpful!

________ ______ ______ ____
Joseph Pehrson

Joseph Pehrson wrote,

<<Sometimes I hear the piece the way it is intended, as an expansion
of the sound continuum and then, sometimes, reverting back to my
"training" I simply hear it as "out of tune.">>

Sections like the sevenish one -- I mean the section that happens
twice and takes the piece out -- are just too sweet and inveigling to
cause too worrisome a reflexive panic attack I would think. I only
hear my own music in that "out of tune" light when I play it for other
people, or when it's lumped together with some other music. And then
it always just sounds all wrong!

<<Maybe we'll eventually get a "state of the art" recording...>>

Personally I've never much cared that much for tape and live performer
performances -- not even with rap. I just think that this approach
almost always reaches its fullest potential in the studio and not
live. Could be that I'm just old-fashioned though too...

Anyway, once again, really nice piece. I'm looking forward to what you
do next. I think your in a pretty unique position here at the list, as
your both prolific and firmly in the flow of recitals and the
classical like. And you have been able to walk what your learning and
exploring right out into the world of performances. This is good for
microtonality I think! (And somewhat rare as well as would tend to
think that the vast majority of microtonalist have to play most of
what they learn and explore when it comes to alternate tunings.)

--Dan Stearns

--- In tuning@y..., "D.Stearns" <STEARNS@C...> wrote:

/tuning/topicId_20628.html#20671

> Joseph Pehrson wrote,
>
> <<Sometimes I hear the piece the way it is intended, as an expansion
> of the sound continuum and then, sometimes, reverting back to my
> "training" I simply hear it as "out of tune.">>
>
> Sections like the sevenish one -- I mean the section that happens
> twice and takes the piece out -- are just too sweet and inveigling
to cause too worrisome a reflexive panic attack I would think. I only
> hear my own music in that "out of tune" light when I play it for
other people, or when it's lumped together with some other music. And
then it always just sounds all wrong!
>

Hi Dan!

Actually, I *AM* exaggerating. I'm really not having much trouble,
personally, with the piece... just "anticipating" some reactions I'm
going to get from some "reactionaries..."

>
> <<Maybe we'll eventually get a "state of the art" recording...>>
>
> Personally I've never much cared that much for tape and live
performer performances -- not even with rap. I just think that this
approach almost always reaches its fullest potential in the studio
and not live. Could be that I'm just old-fashioned though too...
>

Well, I think many people would agree with you. HOWEVER, studio
recordings, at least in New York are VERY costly. That's why some
groups (even respectable ones!) have made live recordings at their
concerts and then do ANOTHER take at the dress rehearsal. Usually
between the TWO versions there is something that can be "spliced
together." Not optimal, but then the players only have to be paid
ONCE fot the live gig and recording simultaneously... (If they'll
agree to it... another "problem" with recordings... somehow some
players think they'll make a "mint" on a modern music CD release...
Nice thought!)

> Anyway, once again, really nice piece. I'm looking forward to what
you do next.

Me too! Looks like trombone is in the mix!

>I think you're in a pretty unique position here at the list,
>as you're both prolific and firmly in the flow of recitals and the
> classical like. And you have been able to walk what your learning
and exploring right out into the world of performances.

Well, thanks so much Dan. Of course, these things don't happen by
"miracles." I've been establishing the performance possibilities for
my music for many years now...

>I would tend to
> think that the vast majority of microtonalist have to play most of
> what they learn and explore when it comes to alternate tunings.)
>

Well... that's fine, too, especially if the composer is an, er...,
"adequate" performer!

Thanks for the comments!

best,

Joe
_________ _______ _______ ____
Joseph Pehrson