Micheal Harrison concert

Yeah, I went. It was a beautiful performance.

Even despite the fact (which the composer/performer complained of
afterwards) that the hall was about as un-resonant as could be.
He managed to kick up enough sound, especially during the "cloud" sections
(a la young's WTP) to overcome this problem, IMHO.

speaking of MHO, I personally enjoyed the (if I remember correctly) 2nd
"cloud" section the most of the piece. . . but there were lots of cool
textures and tuning-plays/exporations and so on throughout the work.

A friend of mine, (Douglas Geers), was in charge of interviewing him for
the Composers Collaborative web site (whose url I can't remember, but a
search will find it for sure), and said that it was hard to steer him away
from "talking shop" about tuning, etc., (which my friend was trying to do
since this was for a general-audience website); and this was additionally
evidenced by the ample program notes handed out at the concert, which
included details of the tuning, etc. (definitely no Young-ian reticence
vis a vis "trade secrets").

all in all, was a cool experience.

***From: Christopher Bailey******************

http://music.columbia.edu/~chris

**********************************************

Thanks for the review, too bad I missed it.
I'll have to contact Michael and see if he'll
send me the program notes.

Could you tell me - generally - what kind of tuning he's using now?
Prime limit?

* David Beardsley
* http://biink.com
* http://mp3.com/davidbeardsley

----- Original Message -----
From: Christopher Bailey <cb202@columbia.edu>

> Yeah, I went. It was a beautiful performance.
>
> Even despite the fact (which the composer/performer complained of
> afterwards) that the hall was about as un-resonant as could be.
> He managed to kick up enough sound, especially during the "cloud" sections
> (a la young's WTP) to overcome this problem, IMHO.
>
> speaking of MHO, I personally enjoyed the (if I remember correctly) 2nd
> "cloud" section the most of the piece. . . but there were lots of cool
> textures and tuning-plays/exporations and so on throughout the work.
>
> A friend of mine, (Douglas Geers), was in charge of interviewing him for
> the Composers Collaborative web site (whose url I can't remember, but a
> search will find it for sure), and said that it was hard to steer him away
> from "talking shop" about tuning, etc., (which my friend was trying to do
> since this was for a general-audience website); and this was additionally
> evidenced by the ample program notes handed out at the concert, which
> included details of the tuning, etc. (definitely no Young-ian reticence
> vis a vis "trade secrets").
>
> all in all, was a cool experience.
>
>
> ***From: Christopher Bailey******************
>
> http://music.columbia.edu/~chris
>
> **********************************************
>
>
>
>
>
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--- In tuning@y..., "David Beardsley" <davidbeardsley@b...>
wrote:
> Thanks for the review, too bad I missed it.
> I'll have to contact Michael and see if he'll
> send me the program notes.
>
> Could you tell me - generally - what kind of tuning he's using
now?
> Prime limit?

To the best of my knowledge, Michael's 24-tone piano has
always been in a 7-limit tuning. I also think he avoids the prime
5.

----- Original Message -----
From: Paul Erlich <paul@stretch-music.com>

> To the best of my knowledge, Michael's 24-tone piano has
> always been in a 7-limit tuning. I also think he avoids the prime
> 5.

I don't think he used that piano. The last two times I saw him play
he was using a piano supplied by the venue.

He's performing a new work, Revelation. From conversations
I've had with him, I got the impression that maybe he's doing something
different these days.

The question was really directed at someone who was actually at the concert
Paul.

* David Beardsley
* http://biink.com
* http://mp3.com/davidbeardsley