Keith Kenniff

(and Miranda July)

Keith Kenniff writes music for movies (among these Miranda July’s “me and You and Everyone we know“)
He is also a major mix-master making sample laws obviously redundant in all their stiffling idiocracy. Listen to this mix and tell me if it wasn’t worth it. Then go and seek out each individual composer and live their bodies of work.

0 – 0:30 Henry Purcell – Suite en sol majeur (Z 660) – Prelude
0:30 – 4:22 Philip Glass – Einstein on the Beach, Knee Play 1
4:22 – 12:14 Lou Harrison – Symphony No. 2, i. Tears of the Angel Israfel
12:14 – 15:06 Morton Feldman – Rothko Chapel 3
15:06 – 16:40 Howard Skempton (perf. John Tilbury) – Toccata
16:40 – 20:19 Henryk Gorecki – 3 olden style pieces, iii.
20:19 – 23:01 George Crumb – Music for a Summer Evening: Music of the Starry Night
23:01 – 30:13 Henry Purcell – When I am Laid in Earth (from Dido and Aeneas)
30:13 – 35:42 John Adams – Grand Pianola Music: Part 1b
35:42 – 38:37 Gyorgy Ligeti – Atmospheres, for Large Orchestra
38:37 – 40:16 Avet Terterian – Symphony no 1, ii.
40:16 – 44:15 Steve Reich – You Are (variations): Ehmore M’Aht, V’Ahsay Harbay (Say Little and Do Much)
44:15 – 45:03 Dimitri Shostakovich – Prelude no. 2 in A minor (op.27)
45:03 – 48:24 Igor Stravinsky – Mass for Chorus and Double Wind Quintet – Sanctus – Benedictus
48:24 – 52:05 Gabriel Faure – Requiem: In Paradisum

Maybe you are Partched?

(Harry Partch in public)

Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for instruments he built himself, tuned in 11-limit just intonation.

Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. In London on a grant he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles’ Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying “a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational”, and giving Partch’s idea his blessing.

Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music.

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