19 April 2005
Currently Listening To
Still listening to The Who Sell Out (still loving it), and just beginning an arrangement of "Our Love Was" which I'm completely smitten by. But--gotta move on. I have been waiting for an Amazon shipment of several CDs of Shostakovitch preludes and fugues, but they are still weeks away. Gah.
I've been really sweating over the "Starship Trooper" arrangement, so let's get some more Yes in my head to seal the deal. Close to the Edge and Relayer are both the Rhino re-release with a few b-sides and demos (studio run-throughs). I've always drooled over doing a piano/voice arrangement of "The Gates of Delirium." Hearing the studio run-through provides some insight into the process of the song, but it's still far off. I was blown away to read in the liner notes that Jon Anderson was the primary composer of Gates. Patrick Moraz (the keyboardist) comments:
Jon actually led me through the compositions and through the core of the arrangement and the construction of most of the themes of 'The Gates of Delirium,' which were composed by the time I came in. Not all of it was complete, but everything was in his head. I think he had the plan for the whole symphony. It was like a symphony. In the world of rock 'n' roll, although very influenced by The Beatles and the English music scene at the time, I always acquaint Yes with what Stravinsky would have dona as a rock musician. Yes music has that kind of symphonic approach and arrangement. The sophistication of the orchestration is absolutely staggering.
This from someone who worked on the album, but all the same. I never considered Anderson the "big picture" kind of composer. The Close to the Edge album has a similarly illustrative run-through of "And You & I" and "Siberian Khatru."
Decided also to re-investivate the backgroundy-but-enjoyable Kid A from Radiohead. Brad Meldau played the opening track at the recent Variety Playhouse concert, so it's been in my head. Its simple harmony was used as an example of modal mixture in rock in a recent MTO article (which I tried to make sense of back in January).
Finally, Schnittke's Concerto for Two Pianos and Concerto for Cello. I can't pretend to understand his manic shifting of harmonies, but that's what makes it so compelling. And I-shit-you-not I actually find myself humming melodies (as best I can) from the cello concerto. He reminds me of the harmonic "wow" I felt when I first heard (and still feel when I listen to) Messiaen.
Kid A; Radiohead [Radio from the Ether]
Concerto for Two Pianos and Orchestra; Schnittke, Alfred [Radio from the Ether]
Close to the Edge; Yes [Radio from the Ether]
Relayer; Yes [Radio from the Ether]
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