Copy Link
Add to Bookmark
Report
La caja de musica Number 0192
/ | / | / | / |
- | ___ ) -- | -- | -- | )
| | / \ ( | | | \ / | (
| | / ___\ )\ | | | \ / | / )\
| | | / \( \ | | | \/ | /| ( \
| | | | \\ | | | | \ / ||/ \ |
| | ___ | | ___ \\|___ __| | __ | |\ /| |/ ___ \\| ___ ___
| |/ \ | | / \|\| \ / \ |/ \ | | \/ | |\ \/ \|\|/ X \
| |---\ | | | ---\ | \--\ | / /\ | /\ | | | | || | /---| \ /--^--\ |
| | __| | | | __| | |__| | | | \ |/_/ | | | | || \ \__ | | | __| |
| |/ \ | | | / \ | | \ | | | | | __/ | | | || |\ _ \| | | / \ |
| | /\ | | | | /\ | |/\ | | | | |/ | | | || | | \ | | | | /\ |
| | \_\ | | \| \_\ | |\_\ | | \_/ |----> | | | |\_/ |-' | | --- \_\ |
| |\___ | \ \___ | |___ | \___ |___/ | | | |___/___/\ |\___X___ |
\ | \| \---/ \| | \| \| \ | \ | \| \|
\| \ \ | | \ \ \| \| \ \
\ \\ | | \ \ \
\ --' /
\___/
LA LISTA HISPANO-PARLANTE DE CORREO ELECTRONICO DE ROCK SINFONICO+PROGRESIVO
============================================================================
LCDM: #192 octubre'99 http://www3.uji.es/~inesta/Music/LCDM
-----------------------------------------------------------------------------
* Reopiniones Del concierto
* Nuevo Disco de Dream Theater
* Sana envidia
* Chile y Mexico
* Yes en Lima
* Stockhausen: No es Rock pero es PROGRESIVO con todas las letras
* Opinion y sentir del KrautRock & Fripp
* JOHN WETTON EN CHILE
* Ayuda con KC y Happy the Man
* Agradecimiento, respuesta y comentarios varios
* shadow fax
* King Crimson
-----------------------------------------------------------------------------
From: Carlos Malvido <orbis@netservice.com.mx>
Subject: LCDM: Reopiniones Del concierto
Hola a todos,
Recibi par de respuestas respecto a mis comentarios del concierto de Yes
en Mexico. La mayoria coincide en cuanto lo exagerado que fui al
catalogarlo como el peor al que haya asistido.
Me permito aclarar que no es por que le heche mucha crema a mis tacos o
porque quiera demeritar la de por si ya comprobada calidad y eficacia de
los Yes. Precisamante por tratarse de este grupo y poniendo todos los
elementos en la balanza, fue que llegue a esa conclusion.
Me falto, eso si, mencionar que me referia a los conciertos pura y
netamente progresivos. Obviamente no voy a compararlos con el cuarteto
de cuerda y percusion de algun antro de peor muerte.
Pero vamos, todos estamos de acuerdo en que el lugar sonaba espantoso,
la difusion del evento fue carcano a lo nulo, la asistencia fue baja y
la intercomunicacion publico-artista fue igualmente baja (las ultimas
dos consecuencia de las primeras dos).
A eso vamos a sumarle los precios, porque no es nada mas cuestion de
comprar los boletos y ya. Yo la verdad si entre medio enojado ya que me
entere a la entrada que los revendedores, bien altruistas, andaban dando
los boletos a mitad de precio. Esto es neto, y no se ni para que lo
pongo ya que seguramente armara dos tres corajes mas.
Efectivamente, no me toco en la parte baja, pero tampoco andaba en el
gallinero (esos si no se como lo habran apreciado). Andaba, como dice
Salvador, tras la reja.
A favor del concierto, se puede apuntalar el simple hecho de que se
trata de Yes, o mejor dicho: de Anderson, Howe, Squire y White (no se si
valga la pena discutir esto ultimo, creo que no). Honor a quien honor
merece, por supuesto. En ningun momento mencione que sus
interpretaciones fueran malas o que fueran malos musicos.
En contra esta todo lo anteriormente mencionado y algunas opiniones,
como la de mi amigo Salvador, que enriquecen esta lista.
No es que platique de la feria segun me toca. Yo trato de ser bien
optimista cuando voy a la feria. Pero tambien quiero ser objetivo
respecto al concierto. Creo que por ser precisamente Yes, fue un mal
concierto y como estamos hablando de conciertos progresivos, poniendo
todo en la balanza, sigo pensando que fue el peor. A lo mejor me perdi
alguno mas malo, no se.
Eso por supuesto sin demerito de los ya anteriores maestros musicales ni
sus impecables interpretaciones.
Carlos Malvido
-----------------------------------------------------------------------------
From: "Pablo Bujan" <pbujan@bancorio.com.ar>
Subject: LCDM: Nuevo Disco de Dream Theater
Gente:
La verdad que para buscar determinadas cosas, Amazon suele ser un buen
lugar para "informarse".
Para los que no sabian, con su inminente disco "Scenes From A Memory",
Dream Theater promete volver a las buenas (y tan anioradas) epocas de
Images & Words, para crear expectacion, la banda ha mantenido un
silencio "sepulcral" y lo poco que se filtro sobre el nuevo disco no fue
precisamente a traves del site oficial.
La cuestion es que esto aparecio en Amazon, y lo encontre paseando por
las hojillas de DT.
No se menciona la duracion de los temas, pero hay cosas que resaltan
como por ejemplo "The Dance Of Eternity", en clara alusion a
"Metropolis" de cuya 2° parte se viene hablando insistentemente en este
disco.
Se especulaba con que la continuacion del tema aparecido en I & W iba a
durar mas de 20 minutos, con lo cual tengo dos teorias:
1) Mesianica y ultracebada: Que Metropolis II es todo el disco.
2) Objetiva: Que Metropolis II son los 4 ultimos temas comenzando con
"The Dance..."
El disco sale el 26 de Octubre, asi que ya tendran noticias de el.
Track Listing:
1. Regression
2. Overture 1928
3. Strange Deja Vu
4. Through My Words
5. Fatal Tragedy
6. Beyond This Life
7. Through Her Eyes
8. Home
9. The Dance Of Eternity
10. One Last Time
11. The Spirit Carries On
12. Finally Free
Saludos,
Pablo.
-----------------------------------------------------------------------------
From: "Gerardo Zmener" <JerryZ@infovia.com.ar>
Subject: LCDM: Sana envidia
Y si... cajeros...
La verdad me da mucho gusto leer los exelentes comentarios acerca de "La
Corte Final", primer progrestaurante en la ciudad de Mexico. Pero lo cierto
es que no deja de darme un poco de envidia el ver que los cajeros mexicanos
tienen un lugar asi para pasar gratos momentos. Yo, aca en Buenos Aires, no
conozco ningun lugar donde poder ir con amigos, escuchar buen progresivo,
comer y beber algo y... todo eso. Quzas ese lugar exista y yo no lo he
encontrado aun, pues solo tengo 23 y todavia me falta mucho Bs. As. por
descubrir.
Si alguien conoce algun lugar similar en tierras porteñas pido por favor
que pasen el dato en LCDM. Y si es que realmente no existe algo de estas
caracteristicas........ Que es lo que esperamos para abrir un
progrestaurante aca, en Bs. As.?!?!?!?!?
Nada que ver con el tema anterior pero... Se podria decir que el metal
clasico (ejemplo el grupo Angra, de Brasil) es un pariante cercano del
progresivo?? Segun las distintas definiciones del progresivo (excepto la
ultima de Joe Rocker) que se han publicado en esta caja coinciden en muchos
puntos (las largas duraciones, las liricas en comun, una estructura musical
mas compleja y elavorada...)
Saludos para todos, y felicidades a los fundadores de "La Corte Final".
JerryZ
PD: Con respecto a mi comentario acerca de la critica de Jose Sahagun
Pareja, lamento haberlo ofendido. Seguramente lo mal interprete pero ya le
pedi disculpas personalmente por este motivo. No es nada malo reconocer que
uno se pudo haber equivocado.
-----------------------------------------------------------------------------
From: danisol <danisol@chavin.rcp.net.pe>
Subject: LCDM, Chile y Mexico
Holas:
A los Cajeros Chilenos: porque se cancelo el concierto de Yes en Santiago ?
Por un lado he escuchado que fue por baja demanda de entradas.....por otro,
que el promotor no cumplio con hacer un pago en determinada fecha.
Curiosamente, lei en el periodico que por esos dias tambien se habia
cancelado un concierto de James Brown por poca venta de entradas. Que pasa
con nuestros vecinos del sur ? Es que el tema Pinochet los tiene
completamente absorvidos y no tienen cabeza para otras cosas ?
A los Mexicanos: despues de leer el comentario de Carlos Malvido lapidando
el concierto de Yes, sabia que no iba a ser una opinion mayoritaria tal como
se demostro con los comentarios de sus compatriotas en LCDM 191. Lo que si
es unanime es que el local es completamente inapropiado para conciertos de
esa naturaleza. Tal vez a mi tocayo ese dia le dolia la muela ;-)
Saludos,
Carlos Benavides
Lima-Peru
-----------------------------------------------------------------------------
From: danisol <danisol@chavin.rcp.net.pe>
Subject: LCDM, Yes en Lima
Estimados Cajeros:
Aunque un poco tarde, no queria dejar de mandar mis comentarios sobre el
concierto que Yes hizo por primera vez en Lima. Ya han pasado cerca de 20
dias (el concierto fue el 16 de Set.) por lo que lo que pueda decir hoy es
un comentario mucho mas desapasionado que el que escribi 'en caliente'
despues del concierto a Southside (en ingles) y que les estoy copiando. Me
van a disculpar que no lo traduzca, pero he tenido dias bastantes
complicados y considero que mas vale un mensaje en ingles que ninguno en
espanhol.
El concierto fue fabuloso, yo estaba en 4ta fila al centro a pocos metros de
Jon. El sonido de regular para abajo. El local Muelle Uno estaba repleto con
4,000 extasiados fans. Dicho local queda en la orilla del mar y tiene al
frente unos acantilados. Dicen (no los pude ver) que cientos de fans que no
pudieron conseguir entradas se apostaron en los acantilados y disfrutaron
del concierto a su manera.
Mas alla de tecnicismos (me refiero al sonido bajeton), Yes estuvo
excepcional. Fueron poco mas de dos horas de delirio. And You And I fue lo
maximo, tuvimos Awaken pero nos falto Close to the Edge. Fue mi tercer
concierto de Yes....espero no sea el ultimo.
El dia anterior al concierto fui al Hotel Sheraton donde se hospedo Yes y
logre sacarme una foto con Alan White y tuve un corto intercambio amistoso
de palabras con Igor. A Jon y su esposa lo agarramos en el comedor pero no
los interrumpimos....nos dimos el gusto de sentarnos en la mesa de al lado y
tomarnos unos whiskies teniendo a Jon, Jane, Alan e Igor como vecinos de
mesa.....
Hagan un esfuerzo y lean mi mail a continuacion .
Saludos,
Carlos
>To: yes@southside.org
>From: danisol <danisol@chavin.rcp.net.pe>
>Subject: [Southside] TRIUMPHAL NIGHT !! Yes in Lima.
>
>The Yes in Lima Experience.-
>
>Part I
>The YesSweaters
>
>Since I have a sweater factory (we produce and export sweaters to the US and
>Germañ), few days before the concert decided to make a Yessweater for me
>with The Ladder in the front of it, using the same lettering as in the
>artwork of the album, plus the new logo; in the back, the classic logo. The
>sweater looked COOL! I ended making 5 sweaters (for 3 of my brothers and one
>of my sisters in law....she looked adorable !) As Dante Nieri has mentioned
>in his excellent post (good job Dante, keep those posts coming), we looked
>as wearing a uniform and being members of the Yesstaff.
>
>Part II
>The pre-Show reunion
>
>Showtime was at 9:00 pm but we knew the concert wouldn't start until past
>9:30 pm. At 7:00 pm I went to the house of one of my brothers and started
>warming up with some Scotchs and Yes music (of course). At 8:30 pm we were a
>party of 13 and decided to start moving towards the venue. When we arrived
>there was a big line of fans (aprox. 150 m or 500 ft) waiting to make their
>entrance to Muelle Uno. The funñ thing is that we, the men had VIP tickets,
>so had no need to make line; our wives had cheaper tickets, so they had to
>stay in line and waited almost 45 minutes to get inside.
>As soon as we entered, our sweaters caused sensation....everybody was
>asking: "were did you buy those sweaters....they look great !", so I started
>giving everybody my phone number in order to make some Yes
>business.....don't worry, I'll send Roger and Steve their copyright cheque ;-).
>
>At 9:30 pm the venue was packed....everybody was so excited....lots of beer
>and not mañ pot. Just behind me was the promoter who said the concert was
>an economic success, he showed me a CD of The Ladder.....how he got it ???
>
>Part III
>The Concert
>
>At 9:50 pm the introduction music started sounding....first time I heard
>what I suppose is Young Person's Guide to Orchestra.....Steve Howe appeared
>first....the explosion! The band members saluted the 'in ecstasy' crowd. I
>was in 4th row at the center, just in front of Jon; a distance of aprox. 20
>ft separated us.
>
>Being so near to the stage has it's pros and cons. The negative aspects are:
>-sound reached our ears with a small distortion.
>-lack of panoramic view.....at some moments of the concert it was like
>seeing a tennis match....head to the left to see Steve, head to the right to
>see Chris and Billy.
> The positive are obvious....being so close to our heroes.
>
>The setlist has already been posted by Dante so no need to mention it (we
>had more classics and less Ladder). I won't go thru the song by song
>analysis; just some comments to some songs and passages of the show:
>
>YIND....a great start of the show.....Steve, Jon and Chris captured the
>attention. Jon was wearing a laurel leave scarf with his white and yellow
>relaxed fit clothing. As usual, Chris was wearing some outrageaus garments
>like white pants 3/4 long (covering only until aprox 10 cm below his knees);
>Steve was in blue, Billy in brown t-shirt and black pants, Alan all in black
>(t-shirt and shorts) and Igor...I'm not sure, IIRC, black pants and light
>purple shirt.
>>From the start, all the praising was directed to Steve, Jon and Chris, so
>decided to encourage Billy. I was constantly cheering to him and he
>responded twice with a smile and a wave of hand.
>
>
>Lightning Strikes: IMO, the lowest point of the concert. I'm almost sure Jon
>made a mistake while singing. He was singing some lines while the rest of
>the rest of the band members were playing other . Jon looked embarrased.
>
>And You and I: the first surprise ! I didn't expected it.....it was a
>highlight. Probaly the most amazing tune of the concert. When it finished
>the venue almost colapsed with the roaring of the crowd......we were all
>shouting....YES ! YES ! YES! YES! YES! YES! YES! YES! YES! YES! YES!
>YES! YES! YES! YES! YES!
>
>Steve's Solo: From the start of the show Steve captured most of the
>attention. Most of press photographers were in his side, constantly shooting
>at him. He was the superstar.
>Though during his solo the sound wasn't the best, he executed it
>masterfully. When he finished somebody screamed: GOD EXISTS !! and the crowd
>went nuts....again we all shouted (moving our right arms up and down) STEVE
>! STEVE ! STEVE ! STEVE ! STEVE ! STEVE ! STEVE !
>He had to ask us to stop it so the show could continue.
>
>Yes performed 3 more tunes from The Ladder: Homeworld, Nine Voices and It
>Will be a Good Day. Definitively Homeworld was the best; it sounded like a
>classic. Nine Voices very nice, completely acoustic, I was one of the few
>singing the 'Nine Voices....dialogue' part.
>
>Owner of a Lonely Heart: Steve didn't leave the stage, he started playing
>with indifference, but at the final instrumental part.....he rocked his ass
>off !!
>Jon invited us to dance so we did it....we all were dancing and singing and
>claping...cool.
>
>Awaken: the most expected song of the night. The girl besides me was crying
>in emotion. It was like a religious experience with Jon being the
>Mesias....when he played his small harp was one of the magical moments of
>the night. Igor made a great job. Another highlight.
>
>Roundabout: a Yes concert has to have this song.....IT ROCKED !! I enjoyed
>it very much...all the bandmembers performed it with a lot of
>enthusiasm....VERY GOOD !
>When the 'boys' came to the center to say goodbye, one of my brothers threw
>his sweater to Steve and was picked by his second who is probably keeping it
>:-( .
>The other threw it to Jon who picked it, showed it to the audience and
>threw it back to us; obviously my brother won't wash it.
>When they returned for the encore, I threw my sweater to Billy who picked it
>and kept it...I was hoping he would wear it while performing the
>encore...didn't happened.
>
>The encores were great....Long Distance was sung by everybody and All Good
>People was perfect for closing the Show with everybody singing ('all we are
>saying is give peace a chance' was included) and claping.
>
>I want to end with a tribute to a Yesmember who is constantly bashed because
>he is lazy, overweighted, drinks too much, has been playing the same solo
>for 25 years, can't play as he used to in the 70s, etc. This Yesman put his
>heart and soul to his performance last Thursday......it was touching. I
>don't know if his playing is getting better or worse, I'm not a musician nor
>an examinator and I really don't care. For me, he was, is and will always be
>the overall best bass player in the world. Hats off to Mr. Chris Squire !!
>
>
>
>Best Regards,
>
>Carlos Benavides
>Lima-Peru
-----------------------------------------------------------------------------
From: jose@jpoggio.com
Subject: Stockhausen: No es Rock pero es PROGRESIVO con todas las letras
Hola:
He aqui una memoria sumamente interesante de la primera mano del genio =
creador indiscutible de la musica electronica y revolucionario absoluto =
de la musica de este siglo: KARLHEINZ STOCKHAUSEN. Esta es una de sus =
ultimas obras, un curioso cuarteto para cuerdas en =
helic=F3pteros.....Disculpas por el idioma y por el tema, pero vale la =
pena irse introduciendo mas alla de las fronteras de la musica, de la =
mano de tal vez el =FAnico musico realmente genio en el verdadero =
sentido de la palabra de este siglo XX.Para mas info sobre Stockhausen =
visiten www.stockhausen.org
Disculpen nuevamente por lo del ingl=E9s, pero no tengo nada de tiempo =
para traducir. Ser=EDa genial si alguien con interes y tiempo se mandara =
una traducci=F3n al habla hispana de lo que ah=ED v=E1: AGARRENSEN!!!!
salutti,
Joe copter.=20
Introduction
HELICOPTER STRING QUARTET (1992/93)
for
string quartet,
4 helicopters with pilots and 4 sound technicians
4 television transmitters, 4 x 3 sound transmitters
auditorium with 4 columns of televisions and
4 columns of loudspeakers
sound projectionist with mixing console / moderator (ad lib.)
The duration is circa 32 minutes.
About WEDNESDAY from LIGHT
Early in 1991 I received a commission from Professor Hans Landesmann, =
the person responsible for the concert planning of the Salzburger =
Festspiele, to compose a string quartet. The Arditti Quartet was to play =
the world premi=E8re in 1994.
My first reaction was =96 as often before in such cases =96 that I would =
not write a string quartet, because I have never separated form, content =
and performance practice, and the string quartet is a typical genre of =
the 18th century.
Similarly, for 45 years, I have not written symphonies, sonatas, piano =
concertos, violin concertos etc. Each of my works has its own form, =
instrumentation, performance practice.
And then I had a dream: I heard and saw the four string players in four =
helicopters flying in the air and playing. At the same time I saw people =
on the ground seated in an audio-visual hall, others were standing =
outdoors on a large public plaza. In front of them, four towers of =
television screens and loudspeakers had been set up: at the left, =
half-left, half-right, right. At each of the four positions one of the =
four string players could be heard and seen in close-up.
Most of the time, the string players played tremoli which blended so =
well with the timbres and the rhythms of the rotor blades that the =
helicopters sounded like musical instruments.
When I woke up, I strongly felt that something had been communicated to =
me which I never would have thought of on my own. I did not tell añone =
añthing about it
Since I did not, after the dream, have añ time to compose, I wrote and =
drew several sketches and =96 from the super formula =96 developed the =
HELICOPTER STRING QUARTET as the third scene of WEDNESDAY from LIGHT =
(LICHT), the cycle of music dramas which I have been composing since =
1977.
Only in 1992/93 did I find the peace to compose the HELICOPTER STRING =
QUARTET, and especially to make the fair copy of the coloured score.
A performance is staged in the following way:
First, the four string players are introduced to the audience by a =
moderator =96 who may also be the sound projectionist. He briefly =
describes the technical aspects of the forthcoming performance. Then, =
the players walk to the helicopters =96 or are driven there =96 while =
being constantly followed by video cameras which transmit to the =
television monitors. The moderator (at the mixing console) explains over =
the loudspeakers what is happening.
>From their embarkation into the helicopters until they disembark, each =
string player and his helicopter is transmitted via camera, television =
transmitter, three microphones and sound transmitters to his own group =
of monitors for the audience. Each string player should be constantly =
audible and always visible close-up =96 face, hands, bow, instrument =96 =
without añ camera changes and without the fading in of other pictures.
Behind each player, the earth can be seen through the glass cockpit of =
the helicopter.
The ascent lasts about 5 minutes from the ignition of the turbines to =
bar e1=99. Until the world premi=E8re, the measured music of the score =
(starting at bar e1=99) lasted 18! minutes. Due to a later addition, it =
now lasts circa 21! minutes. Descent and landing last about 5 minutes =
each.
The microphone transmission from each helicopter should be such that the =
sounds of the rotor blades and that of the instrument blend well, and =
the instrument is heard slightly louder. To achieve this, at least 3 =
microphones per helicopter are necessary: 1 contact microphone on the =
bridge of the instrument, 1 microphone in front of the mouth of the =
player, and 1 microphone outside the helicopter which clearly picks up =
the sounds and rhythms of the rotor blades. The 4 x 3 microphone signals =
can be transmitted by 12 individual transmitters =96 possibly via =
satellite relay =96 and received at the concert blend well, and the =
instrument is heard slightly louder. To achieve this, at least 3 =
microphones per helicopter are necessary: 1 contact microphone on the =
bridge of the instrument, 1 microphone in front of the mouth of the =
player, and 1 microphone outside the helicopter which clearly picks up =
the sounds and rhythms of the rotor blades. The 4 x 3 microphone signals =
can be transmitted by 12 individual transmitters =96 possibly via =
satellite relay =96 and received at the concert hall as well as at =
further localities, then balanced and mixed to 4 mono signals at a =
mixing console using 4 x 3 faders.
>From the moment the synchronous playing begins (0=9200=94) until it ends =
(21=9237.8=94), the four helicopters circle within a radius of circa 6 =
km above the performance venue, individually varying their flying =
altitudes. They should fly so high that the direct sound of the rotor =
blades is much softer than the sound coming from the loudspeakers, or =
even better, inaudible.
After the landing, cameras follow the string players and the four pilots =
as they disembark from the helicopters and walk (ride) to the concert =
hall. Once in the auditorium, the pilots are also introduced by the =
moderator. The players and pilots are asked about their experiences, and =
finally the audience is invited to participate in the discussion.
In performances independent of WEDNESDAY from LIGHT, at least three =
successive flights should take place in daylight with an appropriate =
period of time between flights, and with different audiences. As third =
scene of the opera, only one flight takes place, also in daylight.
The composition is through-structured to the tenth of a second. The =
players are synchronised using a click-track which is transmitted up to =
them in the helicopters, and which they hear over earphones. Since the =
four string players usually tremolo in criss-crossing glissandi, I had =
to draw their pitch lines and curves on top of one another in four =
colours, so that the melody trajectories could be followed.
* * *
In the autumn of 1993 I sent the score to Professor Landesmann in =
Salzburg, slightly nervous at the possibility of him exploding in =
dismay. Amazingly enough, his response and that of the general director =
of the Festspiele, Dr. Gerard Mortier, was unexpectedly positive, =
inspired and courageous. A long series of negotiations followed between =
the direction of the Festspiele and the Austrian army for obtaining the =
helicopters, with the Austrian radio and television for obtaining the =
necessary 12 audio and 4 video transmission-channels, and with officials =
for obtaining the mañ necessary permits. I received photographs of a =
cellist playing in a helicopter, tape recordings made using various =
microphones, and copies of documents.
I called Irvine Arditti only after the Festspiele had accepted my score. =
His first words were: =93Wow =96 wow =96 wow!=94 Whatever that meant: I =
was happy that he did not give up at once. However, he soon tried to =
convince me to allow the quartet to be performed without helicopters, =
using a tape of helicopter sounds, a suggestion to which I reacted quite =
crossly (naturally, he could not imagine what I had experienced in the =
dream).
Soon afterwards, I sent him four colour photocopies of the score and a =
click-track tape which my son Simon had made, on which each bar number =
is spoken in English, and the beats of each bar are marked by impulses =
and counted in German.
Despite the efforts of the Festspiele direction, the performance planned =
for 1994 could not take place. I was told that the Green political party =
had publicly warned that it would be intolerable for the environment to =
allow four helicopters to fly above Salzburg just for the music of =
Stockhausen, and that the general director of the Austrian television =
and radio had therefore set such astronomically high rental fees for the =
equipment, that everything became too expensive.
I told this story to Jan van Vlijmen, the director of the Holland =
Festival. At first, he did not say añthing. But he must have been =
infected by my dream. Heaven knows how he managed to get all of the =
permits and sponsors. In añ case, he allowed several experiments to be =
made, but only in mid-April 1995 did he send me the news that the =
HELICOPTER STRING QUARTET would definitely be performed three times on =
June 26th 1995 in Amsterdam.
On December 14th 1994, Irvine Arditti took part in the first tests at =
the airfield in Deelen, Holland. He told me afterwards that everything =
seemed to work.
During the rehearsals in four separate rooms, I was in a control studio =
and heard the string players =96 whose playing was picked up by 4 =
microphones =96 individually over 4 loudspeakers.
The arrangement of the loudspeakers was as it should be in a =
performance:
left half-left half-right right
violoncello viola 2nd violin 1st violin
During these rehearsals I spoke with the musicians via microphone and =
loudspeakers, and recorded all sections using an 8-track tape recorder. =
At regular intervals, the players came into the studio and listened to =
the recordings.
The tape of these partial recordings and a complete recording is in the =
archives of the Stockhausen Foundation for Music.
On May 10th 1995 further microphone and transmission tests followed at =
the airfield in Deelen. During these tests, both a small battery-powered =
mixer in the helicopter (for the distribution of the signals to the =
transmitter and earphones) was used, as well as a mixer at the ground =
station where the signals were mixed and recorded.
On June 8th, also in Deelen, Irvine Arditti and Rohan de Saram (in =
helicopters) tried out special stringed instruments with contact =
microphones, various microphones, transmitters, receivers and the mixing =
console.
Finally, on June 24th 1995 at the grounds of the Westergasfabriek in =
Amsterdam, all technical equipment was set up in a specially fitted =
auditorium, and on June 25th the final rehearsals began, with four =
helicopters.
After I had tested all of the technical transmission units in the =
helicopters, I prepared the mixing console, and tested all of the =
equipment. Two test performances were flown, recorded on 12 channels and =
each time listened to by all participants, commentated and corrected. =
Also the presentation of the musicians and pilots was rehearsed, with =
myself as moderator.
For the world premi=E8re on June 26th, three flights took place at 4:30, =
6:30 and 8:30 p.m., for different audiences, each time introduced by me =
and followed by a discussion.
All rehearsal flights and performances were recorded on film and =
16-track tape. The recordings were made on 32 tracks (4 x Tascam DA-88):
2 x 12 channels for recording the rehearsals and performances and for =
security copies. The Dutch radio recorded a stereo mix of these channels =
on DAT. Some of these documents are in the archives of the Stockhausen =
Foundation for Music. Most of the filming was done by Allegri, a Dutch =
compañ.
After the world premi=E8re, I added a circa 3-minute, synchronous =
Formation to the end of the work before DESCENT and LANDING.
HELICOPTER STRING QUARTET ist dedicated to all astronauts.
Performance practice
Personnel, instruments
World premi=E8re: The cameras were installed in the helicopters, the =
support equipment and personnel were on the airfield. All proceedings =
between the auditorium and the helicopters at the take-off and landing =
points as well as an initial and final presentation were directly =
transmitted by portable cameras. 4 music stands, installed in the =
helicopters.
4 x 3 microphones with 4 x 3 transmitter-receivers; per player:
1 contact microphone on the bridge of the instrument,
1 speech microphone in front of the mouth,
1 large outboard microphone for the rotor blade sounds.
The 4 x 3 microphone signals may also be received via satellite relay.
World premi=E8re: After numerous experiments for positioning the =
outboard microphones, they were fastened to the boarding stairs below =
the doors of the helicopters and covered with special wind-shields. Due =
to safety regulations, there was no other possibility.
The Sprechgesang of the players (speech-singing of numbers), which was =
picked up by the speech microphones, was transmitted via the video =
transmitters. The signals of the contact microphones and outboard =
microphones were transmitted via 4 x 2 audio transmitters. 8 closed =
earphones (tightly fitting) for the 4 players and 4 sound technicians.
1 click-track tape: For rehearsals and performances, Simon Stockhausen =
made a 2-track tape, the left track of which is a voice counting the 1st =
beat of each bar in English and all further beats in German; on the =
right track, the 1st beat of each bar is marked with a high impulse and =
each following beat with a lower impulse. A copy of this tape with =
exchanged tracks is also available. There are slight timing =
discrepancies between the tape and the score. These resulted from =
approximations of the metronomic tempi during the production of the =
click-track tape.
The players originally asked to hear the counting voice of the =
click-track tape in one ear and the impulses in the other ear, and their =
instrument and voice in both ears.
Voice and impulses were recorded separately on the two channels, so that =
the balance between them could be individually regulated. Originally, we =
had made a mono mix of both signals, but the players could not hear the =
voice loud enough when the impulses were sufficiently loud. The voice =
was covered by the noises in the helicopter.
The click-track was transmitted by a mono transmitter, and thus the =
balance between voice and impulses was controlled at the ground station =
and could not be altered in the helicopter. The players therefore heard =
=96 in the end =96 voice, impulses and their own instrument on both =
ears.
Each player had a different mix of the microphones and click-track which =
could be altered during the rehearsals.
World premi=E8re: A sound technician sat in each helicopter vis-=E0-vis =
the string player, and operated a small mixer, balancing the levels of =
the 3 microphones and that of the click-track tape for the player=92s =
earphones. 4 columns of television monitors in the concert hall.
4 groups of loudspeakers in the concert hall.
World premi=E8re: At the world premi=E8re, 4 x 4 loudspeakers (each =
group with 3 loudspeakers and 1 bass loudspeaker) and 4 x 3 television =
monitors were set up in front of the audience. 4 additional television =
monitors were hung just beneath the ceiling about mid-way in the hall. =
The outermost loudspeakers and television monitors must be set up in =
such a way that also the audience sitting at the ends of the first rows =
can easily hear and see the diagonally opposite columns.
For the television transmission at the world premi=E8re, television =
monitors and large projection screens had originally been foreseen, but =
the screens had to be omitted for financial reasons.=20
-----------------------------------------------------------------------------
From: "Joe Rocker" <gravaz@tamnet.com.mx>
Subject: LCDM: Opinion y sentir del KrautRock & Fripp
Saludos a todos:
Desde hace algun tiempo queria hablar sobre el Rock aleman setentero y ahora
que el cajero Jordi pregunta sobre "el", me he animado a decir algo. Puede
ser que ya lo hayan hablado anteriormente y los felicito, aqui va mi sentir.
Probablemente...o....mas bien definitivamente el Rock aleman mejor conocido
como KrautRock, Rock Espacial o Cosmico; fue la musica mas Progresiva, fria
y hasta agresiva en toda la decada de los 70s y parte de los 80s.
El autentico KrautRock nunca se redujo a sencillas baladas mercantiles y
llego a ser musica de "libre expresion" y completamente anarquista;
tomandose en general la Obra musical completa -como un todo-, y no solo como
un corte comercial efectivo.
Este gran "sonido" (KR) se debio esencialmente a varias razones que son:
Las raices musicales tan enormes de Alemania, una solida cultura del pueblo
en general y a la gran preparacion musical de los jovenes progresivos, asi
como al adelanto tecnologico del pais.
El KR abarca las siguientes corrientes musicales en su seno explorativo:
Heavy & hard-prog., Rock underground, Jazz-Rock Fusion, musica psiquedelica,
sonoridades hibridas, musica Psicotronica, Rock-Avantgarde, musica Concreta,
Rock sinfonico/prog. y hasta incursiona ligeramente por los terrenos de la
Zeuhl Music.
La musica del KR tambien es un estimulo para potenciar la imaginacion y
hasta puede conducir de manera ficticia al "Ten Kai", y en ocasiones
trastoca tanto la mente del escucha que lo puede transportar hasta las
mismas "Puertas del Delirio" de una manera cordial y completamente
Elevada-Aterrizada. (Asi me parece).
Como bien sabemos el principal fortalecimiento de este Genero se debe al
impresionante arsenal electronico que utilizan los jovenes y no-tan jovenes
musicos germanos; pues la creatividad en el Rock Progresivo hace uso de
bastantes recursos, ademas del talento de los musicos. < He aqui algunos de
esos aparatos >.
Ondas Martenot, trautonios, phase shiftters, sintetizadores, polymoogs,
Oberheimer,
cintas pre-grabadas, vocoders, T.O.N.T.O = The Original New Timbrel
Orchestra, osciladores de frecuencia, secuenciadores, synclavier, samplers,
sistemas Midi entre otras sofisticaciones del ayer y hoy.
Los muchachos rockers progresivos alemanes al igual que de otras partes del
Mundo en la decada del 70 argumentaban: "Se debe crear el Arte por el Arte y
la Musica por la Musica y no por dinero, fama o factores secundarios". <
Vientos, vientos >.
Bien, ahora echemos un vistazo a los Grupos mas representativos de Alemania.
Tangerine Dream + Can + Amon Duul II + Kraftwerk + Popol-Vuh + Faust +
Triumvirat +
Faust + Cosmic Jokers + Guru-Guru; a quienes agradezco profundamente por sus
buenas aportaciones y tributos a mi querido ROCK. Pero de una manera
categorica, se tiene que mencionar a otros maestrazos del KR....que por
ningun motivo deben pasar desapercibidos:
ANNEXUS QUAM: Con su album "Osmose".
EMBRYO: con "E.Rache" y "Opal".
ASH RA TEMPEL: "Ash Ra Tempel" y "Seven Up".
GERMAN OAK: "German Oak".
ARMAGGEDON: "Armaggedon".
JANE : "Here We Are" y "Live At Home".
KIN PING MEH: "idem.K.P.M.".
GAA: "Auf Der Bahn Zum Uranus".
OUT OF FOCUS: "Wake Up".
TWENTY SIXTY SIX & THEN: "Reflections Of The Future".
NECRONOMICON: "Tips Zum Selbt M.".
DZYAN: "Electric Silence".
ELOY: "Inside" y "Planets".
BIRTH CONTROL: "Hoodoo Man".
AGITATION FREE: "Malesch".
TOMORROWS GIFT: "Tomorrows Gift".
EPITAPH: "Epitaph" y "Return To Reality".
ARTKIS: "Artkis Tapes".
YATHA SIDHRA: "A Meditation Mass".
FRUMPY: "All Will Be Changed".
VIRUS: "Revelation".
Bueno cajeros estos son algunos trabajos que tengo de KR; y en lo personal
sigo pensando que esta musica es de la mas representativa en el Mundo
Progresivo, a la vez que la de U.K., Italia, Belgica, Holanda....¡ Oh no !
es cuento de nunca acabar.
Se acuerdan cajeros de cuando Robert Fripp andaba medio "Lorenzo de Rodas"
(paranoico, etc.) Esto que comento es porque habemos muchos seguidores de su
grandiosa Musica y de K.C. & The Sunshine Band (perdon maestros, del
Fabuloso King Crimson). Bueno aqui esta Fripp en sus propias palabras:
Robert Fripp el lider del grupo KC explico durante una reciente entrevista
que el mismo se interno en el Instituto Sherbourne de Salud Mental debido a
una crisis de personalidad.
"Mi cabeza volo - dijo - por un periodo de 3 a 6 meses fue imposible para mi
funcionar normalmente, despues de la desbandada de KC, mi ego se fue, perdi
mi ego por 3 meses. Por ello decidi recluirme en Sherbourne por 10 meses
para quitarme las afecciones de la fama de que gozaba como Rock-Star."
Fripp dice que el curso que tomo en Sherbourne le ayudo dar a su vida un
sentido y una direccion y le quito un sentimiento de inutilidad que lo
persiguio durante anios. El curso incluyo el estudio de creencias
cosmologicas, religiosas y filosoficas; pero al parecer lo mas tremendo es
el aspecto practico de los cursos, pues ciertamente no se encontraba en un
campamento vacacional para intelectuales.
"Habia 100 gentes viviendo en esa casa y todos tenian formas diferentes de
vida y provenian de distintos paises de todo el mundo.
Sus edades iban de 18 a 65 anios. Y en ese anio perdimos a mas del 20 por
ciento de los alumnos. 3 personas fueron trasladadas al manicomio. Fue una
de las experiencias fisicas mas terribles de mi vida. Siempre hacia un frio
horrido. Cualquier que haya estado ahi, mas que otra cosa recordara ese
frio. Y no solo era el frio Fisico...era una clase de frio que por momentos
te congelaba el Alma. Yo compartia mi dormitorio con otros 5
ombres -continua Fripp-, uno era de Alaska, 2 eran americanos, un irlandes,
un polaco/americano y otro italiano."
"Usualmente nos levantabamos a las 6 de la morning, excepto cuando haciamos
el servicio del desayuno, entonces nos teniamos que levantar a la 4 y 30.
Era maravilloso muy funky, muy apegado a la tierra. La espiritualidad es,
despues de todo, una cosa practica. Y todo lo que haciamos era para
recordarnos eso".
"Uno de mis recuerdos favoritos era cuando cavabamos para buscar agua. Te
encontrabas al fondo del jardin haciendo un agujero de 8 pies con otras 28
gentes, a quienes realmente yo detestaba y repentinamente empezaba a llover.
Hasta que alguien despues de horas de trabajo nos decia con una dulce voz:
Hey, estan cavando en el lugar equivocado....habia que empezar a cavar otra
vez"
Como crees que te sientes en una situacion asi ?, con todas tus ideas
brillantes.
"Asi que era maravilloso que desinflaran tus grandes ideas.....
Quiero decir que la gente que estaba en Sherbourne - la mayor parte - tenia
la idea de que Dios los habia escogido para salvar al mundo, asi que era una
situacion necesaria. Esto tambien va por mi, porque yo pensaba que era una
persona muy especial y ademas era una estrella de Rock."
" Mi idea de ordenarme ministro - dice calmadamente - pero queria seguir
funcionando dentro del mundo del Rock. Hubiera podido ser un guitarrista de
Rock y un sacerdote, simultaneamente." Esto sucedio hace muchos anios. <
Fin >.
Vaya situaciones que ha vivido Robert, pero seguramente esa experiencia lo
fortalecio mucho para encarar firmemente todas las vicisitudes de su vida,
sobre todo la artistica.
Hasta la proxima
Joe
P.D. Bienvenido a casa Luis Mario y Juan Jose de Luna Negra....adelante con
la entrevista de FFCC.
-----------------------------------------------------------------------------
From: "Jose Luis Ramos" <eramos@ctc-mundo.net>
Subject: JOHN WETTON EN CHILE
Estimados Amigos y Socios de la ARPROCH :
CONFIRMADO=A1=A1=A1=A1......JOHN WETTON VIENE A CHILE
El ex- bajista y cantante de prestigiosas bandas como KING CRIMSON, =
ASIA, UK, ROXY MUSIC, FAMILY, etc.. se presentar=E1 por primera vez en =
Chile el S=C1BADO 16 DE OCTUBRE - a las 21:30 hrs. en la discotheque =
LABERINTO (Vicu=F1a Mackenna 915).
Wetton viene a promocionar su =FAltimo disco "Nomansland". La =
presentaci=F3n ser=E1 de car=E1cter ac=FAstico donde se har=E1 =
acompa=F1ar por nuestro querido amigo MARTIN ORFORD de IQ en Teclados y =
DAVID KILMINSTER actual guitarrista de ASIA.
En el recital podremos escuchar todos los =E9xitos de las antiguas =
bandas de Wetton y su actual trabajo solista. Esta es una excelente =
oportunidad para todos los que se quedaron con las ganas de ver a =
YES=A1=A1=A1=A1, JOHN WETTON, una de las leyendas del rock progresivo =
por primera vez en Chile=A1=A1=A1=A1=A1=A1
Las entradas se comenzar=E1n a vender el VIERNES 8 de OCTUBRE en la =
disquer=EDa MUSICLAND (Avda. Las Condes 6745) y en la FERIA DEL DISCO =
DEL PASEO AHUMADA (Ahumada 286). El valor de al entrada es de $8000 con =
derecho a un trago.
El evento est=E1 organizado por la Productora Showmarket y como =
ARPROCH creemos importante apoyar esta iniciativa, estamos estudiando la =
posibilidad de hacer una bienvenida a Wetton y su banda, una vez que =
tengamos las cosas claras les avisaremos con prontitud.........
Los invitamos a todos a asistir a este espectacular evento... JOHN =
WETTON EN CHILE=A1=A1=A1=A1=A1=A1
Saludos=20
ARPROCH
Asociaci=F3n de Rock progresivo Chilena
-----------------------------------------------------------------------------
From: alfredo.yung@ac.com
Subject: LCDM: Ayuda con KC y Happy the Man
En respuesta a las preguntas de Jaume en el 191:
Respecto a por donde seguir con King Crimson, no cometas el mismo error que yo.
No sigas por una recopilcacion. En el fondo sabes que vas a terminar comprando
los cds originales. Para que gastar dinero en recopilaciones? Por lo que cuentas
que ya tienes, probablemente el camino a tomar sea "Red", "Thrak", "Discipline"
y "Lark's tongue in the aspic". Parecen ser los mas unanimemente aclamados.
Respecto Happy the Man, es una muy buena banda norteamericana de los setenta. Su
musica es casi toda instrumental. En algunos lados se los compara con Genesis
pero si bien los catalogaria como sinfonicos, para mis oidos son totalmente
diferentes. Kit Watkins, quien participo en algunos discos de Camel, toca
teclados. Las composiciones son en general mas cortas que lo que estamos
acostumbrados los amantes del prog pero llenas de contenido. Las melodias son
sumamente originales y predominan los teclados (sobre todo el Moog) y las
guitarras.En cuanto a titulos, creo que la lista completa seria
Happy the Man
Crafty Hands
3rd (better late...)
Beginnings
Live
Deaths's Crown (no estoy muy seguro si este ultimo es el titulo correcto)
Los dos primeros son muy dificles de conseguir aunque lei que seran reeditados
pronto. Crafty Hands aparece como el mas recomendado por todos. Tengo una
edicion japonesa. Es un muy buen trabajo. Tambien tengo Live, que se consigue
facilmente y a buen precio. Creo que es un muy buen cd para conocer a la banda.
Beginnings contiene trabajos anteriores al primer album pero fue editado
despues. El ultimo en la lista creo (no estoy seguro) que contiene canciones
utilizadas por la banda en otros albumes pero en formatos distintos, incluso
creo haber leido que contiene una "suite" en la cual varias de las melodias que
usaron en sus trabajos posteriores aparecen juntas. En sintesis, recomindo a
esta banda y creo que Live es el lugar para empezar.
Espero que esta informacion sea util.
Saludos a todos,
AY
-----------------------------------------------------------------------------
From: Jose Alejandro Barreiro <jbarreiro@correoweb.com>
Subject: LCDM: Agradecimiento, respuesta y comentarios varios
Hola a todos:
En mi anterior correo se me habia olvidado agradecer a Joe Rocker por responder
a mi propuesta de cuales son los mejores temas instrumentales del progresivo.
Otros que en este momento me viene a la mente son:
* Come to age, del ultimo disco en estudio de Camel (Harbours of tears)
* Contrapuntti, del disco homonimo de Le Orme
En relacion a la consulta de Jaume Santos, sobre algunas recomendaciones de King
Crimson, le menciono la excelente recopilaccion en vivo "Cirkus", con versiones
en concierto de practicamente todas las etapas de grupo. En verdad es una
maravilla muy recomendable.
Saludos
Alejandro Barreiro
PD Tuvo la oportunidad de ir al progrestaurante La Corte Final. La verdad, me
gusto bastante, el servicio y la comida son buenos, y la musica que se programa
es excelente. Creo que se esta cumpliendo la expectativa de convertirlo en un
lugar para los aficionados al progresivo. Espero volver a ir pronto.
Enviado desde el centro de mensajes de CorreoWeb!
Obten tu correo electronico con multiples beneficios totalmente GRATIS!!
http://www.correoweb.com
-----------------------------------------------------------------------------
From: EDU120@santandersupernet.com
Subject: shadow fax
A alguno podria sorprender este aparente "fuera de tema" en
una lista de progresivo pues Shadow fax, debido al sello que mas
conocidos les hizo y, al menos en España, a haber sonado casi
exclusivamente en el programa de Ramon Trecet, estan
irremisiblemente condenados a ser catalogados como grupo de new
age.
Nada mas lejos de la realidad. El propio grupo se
autoproclamaba como banda de rock y asi se refleja en su musica.
Cierto que en muchos casos el rock queda convenientemente
suavizado y edulcorado pero, sin ir mas lejos, "song for my
brother" es una larga composicion con estructura totalmente
progresiva.
Tengo un disco de 1976 llamado "watercourse way" donde
cualquier parecido con la new age solo puede estar en la mente
del escucha. En esta epoca estaban mas proximos a formulas jazz-
rockeras tipo Mahavishnu Orchestra.
De hecho, aqui se incluye la version primigenia del "song
for my brother" aunque se hiciese mucho mas conocida cuando fue
regrabada en 1983 para su disco "shadow dance".
Y para que todo este rollo? Por una parte para llamar la atencion
sobre ellos, rock o no rock, fueron de lo mas elegante. Por otra,
para que me ayudeis a conocer discografia. En este momento tengo:
watercourse way, 1976
shadow dance, 1983
to far to wisper, 1986
the odd get even, 1990
Aunque hace una decada se vieron una buena porcion de ellos
en vinilo, hoy en dia sus discos son relativamente dificiles de
encontrar. Deben tener al menos 5 o 6 albumes mas, si alguien
conoce titulos y sabe que tal era el contenido, ya nos lo puede
ir contando.
Hasta otra
Juan Rodrigo
-----------------------------------------------------------------------------
From: EDU120@santandersupernet.com
Subject: lcdm King Crimson
Luis Mario Riva Palacio nos decia:
me quiero introducir definitivamente en el mundo de KC. Por donde
sigo?, alguna recopilacion?
Buena la has hecho. Debes saber que como King Crimson o como
cualquiera de sus prolongaciones tienen una cantidad de discos
que crece en progresion geometrica y tiende al infinito. Fripp
esta sacando todo lo habido y por haber, a esto suma los
setecientos mil piratas oficiales o no que existen.
En fin, si te ha gustado "the night watch" lo logico es que
abordes esa misma epoca en estudio. "red" es posiblemente el
disco mas accesible de esos años, y no confundir accesible con
comercial, su calidad esta fuera de dudas.
Si este te prenda, sigue con "lark's tonges in aspic" y
"starless and bible black". Un poco mas crudos pero tambien
excelentes.
Con esto tienes completa la etapa 73-74. La banda muere
temporalmente y es resucitada en 1981. Personalmente dejaria esta
epoca para mas adelante, no es mala pero el sonido es
tremendamente distinto, mucho mas frio, cuando decidas arrimarte
a estos años prueba con "discipline".
En 1984 vuelven a fenecer y reaparecen en el 94 con un
monton de discos que, al fin y al cabo, son versiones o directos
de uno solo: "track". Sorpresivamente, este trabajo les salio
realmente bien, cuando acabes con los setenta, podrias intentarlo
con este disco a ver que tal.
Saludos
Juan Rodrigo
-----------------------------------------------------------------------------
