The first edition of the evening parties was conducted on Monday, which is the longest new chain in the world, on April 23, 1939, at a house on Miceltorena Street, in Silver Lake, Los Angeles. The host Peter Yates, an employee of the Ministry of Labor in California, and his wife, was the pianist Francis Moulin. The couple assigned the RM Schindler to build a closed performance space at the top of their house. Nineteen people attended the first music concert, as Molin played works by Bella Bartok. Two months later, the evenings were presented on the surface, as the series was initially, a greeting to Charles Evez. Word has spread enough that the great Outto Klemperer, chanting around IVES. Shortly after, Shinberg and Tarvinski, the modern giants in exile, were attending their music programs. Suzan Sontag has become a teenager, thirsty for modernity, regular. The series eventually moved to larger places and changed its name to Monday evening parties. Hundreds of grades – in the new most expensive, appeared, some are very old. On one occasion, Aldous Huxley is present about the gentle life in Carlo Gesualdo vision vision. The history of MEC is rich enough to inspire a book, and it is “evenings on and outside it” by Lambor “, which was published in 1995.
Although MEC has achieved up and down over the decades, it is now in a rise. Since 2015, the chain was under the supervision of rhythmist Jonathan Hipsfar, a forty -year -old Buffalo citizen with a taste for the arrest of programming. One of HEPFer signing offers, in 2017, the Sufi Hildagerd in the Middle Ages was associated with Benningin with the modern Italian Maverick Pilon. Another of Guillaume de Machaut’s Messenger de Nostre Dame, which is a memorial for sacred music, with “Naam, Desert, Choir, Agnis,” partially electronic excitement for the New Mexico Desert and the paintings made by Ashnis Martin inside. they. Moreover, Hepfer managed to bring young fans amazingly varied; The MEC events are similar to the ARTS District exhibition more exhibition than they do academic parties. In 1939, Yates asked a friend, “Did anyone anywhere like this?” The question is still suspended in the air.
For January, MEC was scheduled to hold a pair of concerts that include new major works for Sarah Hinz and Zaya CZRNOWIN. It was postponed due to the fires of Los Angeles, which violently struck the music world as they did the rest of the city’s life. Many Los Angeles Vele’s members lost their homes. Lawrence Shinberg, one of the composer’s sons, lost all the Balmont Music possesses, a spreading process for his father. Dozens of independent musicians have been made homeless. I decided to write about Mec anyway, because it represents something essential about the artistic identity that is less than Los Angeles. On January 15, I went to San Diego to see the main rhythmist Stephen Chic and his band, red blue fish, playing “Poetica”, a new piece that they planned to bring to Los Angel the disaster that exceeded Pacific Palisades and Altadena on January 7.
The long -term curse of the new music concert is a tendency towards Miscelland. A set of pieces are thrown into the different styles together, leaving the audience to choose and choose the favorite. HEPFer, a former drum player in the evil rock music that fell in love with John Cage music at the age of seventeen, is looking for Etisalat, even when the works concerned separate from the passage of centuries and continents. It has a severe feeling of countless tangles from the cultural history of Los Angeles. The fact that MEC came to life in an area designed by a pioneer of residential modernity, with a group of artists and writers, is a model of his thinking.
Looking at the MEC party that took place in November 2220 ARTS + Archives, which is a multi -purpose place in the Philippine. The evening began with the silent movie “Rabbit’s Moon”-a nice surreal myth, which began in 1950 and ended in 1971, by the late late Al-Tala’i Kenneth Angger, which includes Beirut looking for love in night wood. The anger released the film with pop sound music. For the sake of examination, HEPFer and his collaborators, including the pianist Vicky Rai, replaced direct performance of John Cage: “In the Landscape”, from 1948, and “but what about the noise of smiling paper.,”, From 1985. different aspects For the language – a simple harmony separately in the first taste, rhythmic in the other – is the rabbi aura. Anger and yogurt, although they differ greatly in mood, both of them came out of La Bohemia in the early twentieth century.
After the break, the “engine tapes” came from Hennies, which can be heard as a radical extension of the Kingan diagram of tone and noise. Hennies, like HEPFer, is the former rocky drama player who has headed towards the forefront; She is also a passing woman who explores the identity of the stranger in her degrees. The title “Kinetic Tars” refers to a nervous scientific concept of the brain as a network of permanent, unprecedented tapes. Early, the piece is a bit and a somewhat prohibited, with an uncomfortable repetition of unilateral characters. Later, a wide -like atmosphere is assumed: Arpegios, free, free Cadenza, open opening periods. In the end, the rich, mysterious and silent ropes are permeated by silence. It is a very quiet world as strange.
HEPFer also delivers programs to creative artists who explain their visions. In September, Bass Bass-BARITONE DAVóne Tines presented a copy of his show and his album.Robson“Consider the life and music of Paul Robson. Tines has the vocal power to bring the low tones to Robeson, but this is difficult to classify, which was created with director Zacke Winokur, is the most effective when the singer abandons the areas of Al -Jaheir and reaches the fully FalSetto record. It begins. It begins. It begins. One of the exceptional serials with piano player John Piui plays “Le Gibet” from Ravel, which is superior to “I will fly away.” The extreme danger zone, and clearly evokes its internal features.
Sometimes I think CZERNOWIN is our greatest living. Certainly, her work routinely inspires surprising, confused and dread – reliable indicators of greatness. She was born to the Holocaust survivors in Israel in 1957, and she studied at Harvard University since 2009. Her first opera, “PNIMA”, dealing with unexpected shock susceptibility; The second calls for, “infinity now”, the horror of the war. But CZernown does not write expressive music – impressions of crisis and disasters. Instead, its pieces indicate the beauty and terrorism of natural processes that are revealed, while mixing human chaos.
“Poetica”, which was played by Schick and Red Fish Blue Fish at the Conrad Pripases Center, on the California University campus, San Diego, is the first part of the effect of Triptych entitled “entitled” entitled “entitled” titled “Vein“After the Latin word on“ Vegetable ”. Artists treat five drum batteries, including Timpani, Snares, Congas, Bongos, TOM-TOMS, and Pass Prams. They also ask them voices, breathing in microphones and pronouncement of non-verbal clips. A pre-registered path, a group of lower tendons with a group of sounds that were found-not only the sounds of nature, such as the theft leaves, the cycled gossip, and the drums, but also the anti-government protests in the Paris Will. , “These records bring an external dimension to the piece and give the impression that the group is trying to stay from burning the world.”
For long periods, “Poetica” is very calm. Sometimes, you only hear a hemorrhagic scrape on the surface of the cylinder. (“The tradition of the voice of writing”, guides the result.) In moments, the recorded chains are roaming towards the well -known class, with the accumulation of trembling tricks. Nothing remains fixed, though: slice tones, decomposing, tracking. Often with CZERNOWIN music, I felt as if you were in unfamiliar and unstable terrain, however it seemed that every sound flashing landed exactly as it was on it. I thought about the movie Andrei Tarkovsky “Stalker”, where the trio moves from researchers across a scene at a timely destructive, mysterious, and sublime scene.
After that, I felt that I had approached “Poetica” in a wrong way. Initially, I was following its structure, and identifying its component elements. But the result revolves around enhancing meditation space. This is not a kind of meditation, in which external chaos is kept in a critical position. I started listening to the right way when I made me recording rain, eventually, thinking about thousands of homes that might have been rescued if they fell on Christmas. I remained in the grip of this imagination, on the borders with prayer, until the rituals of Crotales closed the music at the end. ♦
