From the CD Imaginary Day we have track 7 today, The Dorian Mode. The piece is symmetrical in form: introduction, A section, B section, shortened recapitulation of A and Coda. The A and B section present constant changes of meter. The B section is improvised. The coda develops material from the introduction. Its considerable length is compensated by the shortened recapitulation. Independent of the symmetrical structure, a simple melody, like a cantus firmus, appears halfway through the A section. It is played by the pedal, using a principal 4', whereas the two manual voices employ flute stops.
27/06/2015
The Art of Listening with Relaxed Precision and CD Imaginary Day, track 7: The Dorian Mode, organ Westerkerk Amsterdam
Yesterday evening Jan Veldkamp and Hans Fidom spoke very well during the ceremony in which the Schnitger Dream Prize was awarded to me. Among other things, Jan Veldkamp referred to two of my pieces that he liked in particular, i.e. My friend the Indian and Eliah's Ascension. These pieces will be the subject of future blog posts. Hans Fidom very justly extended the meaning of The Art of Playing with Relaxed Precision (a term I used to explain The Art of Doing Nothing), as referring not only to performers but also to listeners. Consequently, through The Art of Listening with Relaxed Precision, listeners also contribute to the calibre of a concert. This reminds me of Ali Jihad Racy's chapter Improvisation, Ecstacy, and Performance Dynamics in Arabic Music in Bruno Nettl's and Melinda Russell's In the Course of Performance - Studies in the World of Musical Improvisation.
From the CD Imaginary Day we have track 7 today, The Dorian Mode. The piece is symmetrical in form: introduction, A section, B section, shortened recapitulation of A and Coda. The A and B section present constant changes of meter. The B section is improvised. The coda develops material from the introduction. Its considerable length is compensated by the shortened recapitulation. Independent of the symmetrical structure, a simple melody, like a cantus firmus, appears halfway through the A section. It is played by the pedal, using a principal 4', whereas the two manual voices employ flute stops.
From the CD Imaginary Day we have track 7 today, The Dorian Mode. The piece is symmetrical in form: introduction, A section, B section, shortened recapitulation of A and Coda. The A and B section present constant changes of meter. The B section is improvised. The coda develops material from the introduction. Its considerable length is compensated by the shortened recapitulation. Independent of the symmetrical structure, a simple melody, like a cantus firmus, appears halfway through the A section. It is played by the pedal, using a principal 4', whereas the two manual voices employ flute stops.
