Showing posts with label Jamendo. Show all posts
Showing posts with label Jamendo. Show all posts

Wednesday, January 18, 2012

Concerto n°9 by Pierre-Marie CŒDES

  Royalty Free Music - Stock Music Library | Jamendo PRO
direct link to Pierre-Marie CŒDES' Concerto n°9 on Jamendo


direct link to Pierre-Marie CŒDES' Concerto n°9 on SoundCloud

Pierre-Marie CŒDES' Concerto n°9 opens with a trumpet call. A swan is glides over the still water of the river. It is dawn. The sun rises with strings and drums. Such tension in the music, coiled, ready to open, and when the piano begins, it does. We are flowing in a dance of water birds. The water is a thick glass floor and when a plummet is thrown, it dives down and down. There is no end to the depth of this music.

We are brought back to the fingers, nimble playing, the breath, even clear notes. The swans lift out of the water, drops of water falling from their wings, angels rising into the brightening sky.

Flutes, reeds flowing to the music. Those on the banks witnessing the ballet of birds in the water, still, awe.

The Allegreto is restrained and draws its power from its restraint.

There is such joy in the melody. The piano sings, lightly across the keys, deeply in the bass notes.

Trills, lightly, lightly, the swans have become ballet dancers with wings. They are sweeping around and around.

Newness arises with the sunrise, the day opens with Pierre-Marie's Concerto N°9. He is ever gentle with us, inspiring us to awake and swim with the day, to sing and dance with the joy of living deep in our hearts.

By Andante, the river flows through plains and vast open spaces. We are in a Surreal land where fairytales turn into operas, where passion fills the landscape. There is magic as the river flows. The dancers have deepened their dance of life to include lonelinesses, moments of quiet communion with what is divine, and all the while distant trumpets remind us of the strength of our spirits. The piano, as ever, sings its notes, carrying the central voice of the Concerto.

In our metaphor of river music, the piano carries us through rapids, drops, over rocks, winds through forests, allowing nature in all its beauty to be seen.

Sometimes we are flying over the river, watching our lives progress, watching the widening of our experience as we move slowly towards the ineffable.

Lovers dance quietly in the peaceful but steady dream that this symphonic concerto opens.

Sometimes there is drama, yes, moments, but the overall flow of joy rushes on.

A catchy jazzy rhythm, with rich Classical undertones.

By the end of Andante, the breadth of Pierre-Marie Coedes vision becomes evident.

Dancers like swans fill our imagination.

Allegro begins with almost a jazz beat, distant flamenco, under a sweet, encompassing blend of instruments. The day is steadily revolving with the sun in trills, moments of flight, laughter, pain, togetherness, the echo of all creation communing.

Our ballet dancers are almost doing a slow tango, their wings open behind them as they swirl, bend, bow.

We are nearing the ocean, a regal entry into oneness. All the levels are echoing, singing, trills, notes, repetitions, a choral of complex patterns and pastel overlays, the harsh lines only rise from the depths, pulling the movement together so that it ends with a flourish of delicate piano notes, everything is shimmering, the pulse of life is here, its stunning gift.


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Sunday, September 25, 2011

Wear White Paint for the Moon -reading at CENtRAL


direct link: Wear White Paint for the Moon (*this video is subtitled* -after you hit play, hover your mouse over the CC in the playbar, when it turns red, the subtitle file is loaded and you can read along with the prosepoem if you wish- red is on; black is off)

This reading of my prosepoem, Wear White Paint for the Moon, took place at the CENtRAL last night, a pub in Mirvish Village in Toronto, and while I wasn't particularly happy with it, I did have enormous fun making the video, and quite like it now.

With tripod on camera, the angle was unchangeable. I layered multiple tracks of the same clip with lots of filters and then pulled in some footage I had shot of the full moon last August. The moon is quite bouncy in parts, and yet matches the words in those parts, which I found delightfully synchronous.

The background of moon and clouds was my wild imagination at home when I was editing the video. While it would have been wonderful to encase the poets that night in a stage set of lunar light and wispy cloud moon veils, alas, no, we stood on a small stage with a screen behind us. The scenery is a product of the magic of film editing.

I spent hours making detailed by-the-second subtitles for this video so you can read the words while you listen, if you like, and have Google translate into another language if that is better for you.

Background music - 'Satellite Two,' by Professor Kliq, from his album on Jamendo, "Athene's Theory of Everything: The Original Soundtrack."





Wear White Paint for the Moon is a poem that represents jump starting a drained engine. This poem was originally written in response to a prompt at the now defunct Big Tent Poetry. One of the hardest pieces I've ever written due to a writer's block. So I used a technique. While walking on dark streets staring at the moon, I spoke into the 'voice memo' on my iPhone about the moon and later transcribed it. From that jumble, I wrote the poem (Yeats wrote all of his poems this way -prose first, from which he crafted his brilliant poems). You can read the original prose passage and responses by the Big Tent community of poets (who I miss) here: The Blocked Poet Strips Herself. Further, getting myself to the venue on Saturday night to read was very difficult, and I have to admit, I was into my 2nd large 'Creemore ale on tap' by the time I got up to read. :giggles:
_

Further note on the subtitles: Once I learned how to make a subtitle file, no matter how time-consuming, I promised I would do this for all my future videopoems. It's not just the languages (Google offers translation into 25 languages), but I also have received complaint that watching a video with a voiceover of poetry, which is condensed, rarified language, packed with meaning in sparse phrases, is too difficult without the text. This way, the viewer has a choice to watch with, or without. It's the perfect solution!

If the subtitle file is not working, please let me know. If you don't like it, hover your mouse over the CC in the playbar until the CC turns black (red is on; black is off), and then the text is gone. Thanks!


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Wednesday, August 17, 2011

Exquisite: Marius Joppich's 'Glockenspiel'




Delicacy and fineness. Listening, an excitement grows, awakened, joyful. I travel vistas of the heart. Travel into time itself. The world is ringing with sweet depths in my ears. The drums come like spirits dancing on the waters. I can hear the breath of the musician. Intimate, complex, dexterous. Life and death dance. Gentle shaking rattles and drumming and bells and cymbals, regal and yet also building with an underlying repetitiveness that is trance-producing. We enter other states of consciousness. Music through which the jungles sing. One of the best tracks I've heard in awhile. Thank you Marius! Exceptional.


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