My writing going out in the world, I know it is merely a matter of personal perception but it seems to go further when the notes become separated from one another. Each paragraph takes up residency in a different piece.
The cat laying by the fountain and the sound of her broom on the steps both captured by my pen on the same day and sharing a page in my notebook. Once utilized they live many miles apart as one goes to an essay while the other in a poem.
All the words circle the globe, they create the lines of a special map as groups of words come together to form countries with names like;
“Bar at night…”
“That girl from then…”
“Regret from a lack of tears.”
No nation’s borders have straight lines of demarcation, although some do more so than others owing to the suppleness of certain words and their groupings.
I take long walks and talk to myself about the nature of what goes into any given work. Picasso once told Andre Malraux that he dreamed his “Bull” sculpture, which was the skeletal head of the animal made up of a bicycle seat for skull and handlebars for horns, would one day have a reverse birth. Like watching a film run backwards, the parts would subtly vibrate, then shake and then detach from one another. Jumping out the window each would separately place themselves back on the frame of some bicycle, where their former prestige unnoticed, they would go back to carrying out their original functionality.
I imagined the similar magical motion behind the absorption of my notes into various pieces. The sea change that the words underwent from their birth in a reporter pad into something less functional but perhaps grander in some people’s eyes.
With the vision of the Toro behind me, my inner dialogue on this day was the nature of influence and components which make up any work of art.
It has been written that the twin wellsprings of all modern (Western) classical music flows from Igor Stravinsky (1882 –1971) and Arnold Schoenberg (1874 –1951). With the passage of time, these two influences have not waned but in some cases have occurred via a ripple effect, the influenced composers in turn influencing the following generations.
Even for these two composers, neither of them started off fully realized as the artists whom countless people would treasure. And once their artistic identities were fully gestated, there was still a near constant evolution occurring. The forms of inspiration offered up by these two were the foundation to build off of or reject, spurring on further explorations. Their different theories and techniques taken apart, cannibalized to reappear in new forms, like The Bull.
Modern jazz has had many similarities with modern classical music. In both cases diverse components from traditional folk/ethno-world and previously established cannon have been utilized and mixed to varying degrees with the aural vernacular of the day along with each composers own voice. Creating something new, yet linked to what came both before and after.
Both jazz and modern classical have had instances of cross pollination within their genres and with each other. As both genres were ever evolving, they have conveyed an aural shorthand for capturing the zeitgeist of progress.
Although non-populist music stateside is largely marginalized in regards to where the casual listener can discover (or see live) works which do not strictly adhere to a genre, in some ways it is a golden age for creating uneasy to define works. Now artists need not restrict themselves from where they cull influences and inspiration. Cologne musician/composer Jurgen Friedrich’s new release Monosuite (For String Orchestra and improvisers) is more a classical piece with improvised solos than a jazz album. Yet in this age we need not worry about coming up with a too exacting classification.
Jurgen draws from not only a myriad of musical influences and inspirations but painters and nature as well. All perfectly apropos given the visual feel to the piece.
The structure of the work is a suite which is non-programmatic. The orchestra is made up of strings with the improvised solos of bass, alto saxophone, piano and drums. The lack of a brass or woodwind section allows for the episodic nature of the suite to subtly present itself to the listener.
“Waves” begins with a lush swell of strings, sonorous cello and viola above which crystalline waves of violin rise. This is a good example of the subtle colorations of the score. There is a reoccurrence throughout; a sort of ambient vibration(s) as one may experience when looking at the color field paintings of Marc Rothko or during a long good conversation.
“Breaks” is mainly the fluttering breath of flute punctuated by the occasional emergence of the orchestra. It is meditative beauty, the soft wind which hits the cheeks as one catches themselves standing in contemplation of an abstract.
“Fiddlesticks” has a great drum pattern accompanied by strings which conjure up a North African feel. These colorations strive for the rigid confines of authenticity to the place from where they came but as an added influence to be incorporated into the esprit de corps. The melody takes on a sort of rolling motion, rolling the way the dunes do across a dessert and over which can faintly be heard the glissando of piano and above that, horn.
“Blossom” starts with strings building into a wave of tension. The shrill violins are a rope or wire about to break, the crooked looping cello the voice warning that they are about to do so. The string is broken and there is a fall through the roof into a lopsided cabaret where the piano attempts to intermittently gallop away when the discordant voice of the horn is distracted by the ratchet like percussion. The bass becomes both the front door opening and closing and the footsteps of the patrons many of whom wear ill-fitting hats. The flute is a type of nocturnal peace as can be achieved in such places at a late hour, not necessarily real but believed. This section marks the introduction of discordant elements. I would not say they are necessary but their presence with their piquant cacophony serves to underscore the lushness of the more out right beautiful sections.
“Low Tide” is my favorite section. It has an elliptical flute breathing over the tinkling of a piano. It is a predawn Gotham, someone practicing in their fourth floor walkup or softly talking to themselves via the ivories. There are swells of strings and the rumble of bass, so much concrete resettling in its predawn coolness. The percussion is the rattle of found objects, umbrella skeletons with their spindly metal bones now bereft of any fabric, empty cans which lost the fight and with their middle dented in now have a V for the victory of their opponent. All tripping up or being kicked away by a lone flaneur. Walking alone at night, gently enfolded in the wings of the city, I want to wear a suit the color of yesterday but will settle for a peace nestled in discordance.
The suite ends with “Weave” which is not a summing up but more the mirror twin of the first section. Where our entry into the suite was lush, this last section is densely beautiful and of a darker hue. There is short bursts of strings, their humming a code converging with flinty notes of piano. Cello conjuring up the ghost of Boccherini’s nights mark a change in the sections cadence. Percussion and piano mirror the pattern of the strings before flute, piano and bass delicately add solos which stay inside the melody.
In his composition Jurgen never falls back on repetition to move onto the next idea or to merely fill space. All the soloists make statements in the end, the effect is of individuals running into a crowd, joining it and then continuing on at the same brisk pace from within it. The close of the suite, the strings drop away and it is all soft murmurings and plinkings, the symmetry of beauty.
More information on Jurgen
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