Simon is now a certified flight instructor

The young in the photo is Simon Norwalk, and I have just read about him in the Lincoln County News.

When I met him for the first time Simon was fourteen. He was able to drive a small truck and to sail. And he was managing greatly his mountain bike.

His father, Jay Norwalk, is one of my best friends. They live in Maine, some place near Wiscasset. A wooden house surrounded by woods, close to one of the greatest mountain lakes I have ever seen.


Now Simon is eighteen, a freshman at the University of Southern Maine in Portland. He is also one of the youngest certified flight instructors in America.

Simon learned to fly from his father, Jay, who is a U.S. Air Force veteran. They have a small Cessna 172, and Simon soloed first time two years ago and earned his private pilot’s license when he was seventeen.

Din nou despre Arvo Pärt

Imi conduceam masina prin desert, in Utah. La radio era cantata Tabula Rasa. Am simtit deodata o conexiune intre muzica si singuratatea peisajului. Muzica lui este religioasa si fundamentala.

(Gil Shaham)

Muzica mea a fost scrisa intotdeauna dupa ce tacusem pentru o lunga vreme in cel mai literal inteles. Can vorbesc de tacere, inteleg neantul din care Dumnezeu a creat Lumea. Daca te apropii de tacere cu iubire, va iesi muzica.

(Arvo Pärt)

Fratres: o introducere rapida solo vioara – apoi pe ritm imprimat de percutie, vioara isi incepe patternurile repetitive. Ciacona lui Bach imi vine in minte! Apoi un interludiu, vioara acompaniata de orchestra – orchestra asigura un background larg, generos – vioara e rapida. Din nou ‘ciacona’ Din nou vioara cu orchestra. Din nou percutia isi anunta prezenta. Orchestra din nou, larga, generoasa, vioara o comenteaza.

Tabula Rasa este un mic concert pentru doua viori, orchestra de coarde si pian preparat. Pianul preparat are timbru de clopot. Viorile suna ciudat, sunet ciudat si melodie ciudata, pare a fi un perpetual ascending. De fapt o vioara o acompaniza pe cealalta care incearca o elegie. Si de fapt este un echilibru perfect intre viori, orchestra si pian. Pana la urma realizezi ca pianul este de fapt solistul: Tabula Rasa este un studiu asupra fading-ului fiecarui sunet emis de pian; viorile si orchestra acompaniaza cu o melodie care se ridica spre stele, singurele tovarase ale desertului.

Simfonia No. 3, interpretata de catre Göteborgs Symfoniker (dirijor Neeme Järvi); prima parte are un parfum medieval, inchizi ochii si iti inchipui ca esti in fata zidurilor unei cetati la un turnir.

Robert Spencer - Dincolo de Delaware

Robert Spencer, Dincolo de Delaware, alegerea a opta. Targul de dincolo de apa este New Hope, in Bucks County. Am fost acolo de multe ori. Micile restaurante si buticuri de pe strada principala mai patsreaza inca un aer usor boem - cadva aici era locul impresionistilor din Pennsylvania: Scoala de la New Hope. Pe atunci, la inceput de veac douazeci, impresionismul era inca nou in America, iar artistii Pennsylvanieni erau considerati democratii noului stil. Daca ii comparam cu artistii care creau in aceeasi vreme in Noua Anglie (ca de exemplu Tack, sau Weir), atentia lor era dirijata mult mai mult spre viata de zi cu zi, subiectele de care erau interesati apartineau in primul rand unui univers foarte popular.

Unglassed Windows Cast a Terrible Reflection (Ferestrele fara geamuri joaca reflectii teribile), al doilea film al lui Brakhage, facut in 1953. Dureaza cam 20 de minute,ca si primul, Interim. Numai ca universul este total diferit. Acum este peisajul din Calauza. Sa remarcam totusi ca Tarkovsky avea sa isi faca filmul in 1979!

Sa ne fie clar: Calauza trebuie inteleasa pe multiple paliere. Nu e vorba de asa ceva in filmul lui Brakhage. Subiectul este din nou doar un pretext, ca si in Interim. Un grup de adolescenti fac o excursie in munti, automobilul cu care calatorescare o pana, soferul este ocupat sa vada ce poate face, ceilalti ies din masina si se uita prinprejur. Cateva construcctii ciudate din lemn se ofera privelstii, pe culmea dealului, un fel de colibe, sau de cabane neterminate, dar in plina degradare. Prin ferestrele fara geamuri lumina dinauntru se joaca in irizari neobinuite cu lumina de afara. Eroii incep sa exploreze si in curand fiecare se rataceste de ceilalti si se trezeste singur, prizonier in labirint. Fiecare pas te aduce intr-un loc cu totul nou. Prin ferestrele goale lumina se joaca fara incetare cu intunericul. Eroii se regasesc deodata, dar incep o bataie, iar unul din ei este omorat din greseala. Celalalt paseste pe o scandura, isi pierde echilibrul si cade in adanc. Nu vom sti reactia celorlalti, pentru ca imaginea filmului ramane pe varful brazilor.

Asadar nu exista aici paliere multiple de intelegere a filmului ca in Calauza. Doar aceeasi spaima crescnda cu fiecare pas mai departe intr-un univers strain si alienant, spaima redata aici intr-un limbaj cinematografic pur, in schimbari ale ritmului luminii. Pentru Brakhage, din cate se vede, subiectul este doar un pretext pentru a explora lumina in miscare, in interactiune wcu ochiul privitorului. Brakhage nu vazuse filmul facut de Moholy-Nagy in 1930 (Lichtspiel Schwarz-Weiss-Grau), dar mergea pe acelasi drum.

Arvo, Teiji, James, Conlon

Patru compozitori foarte diferiti intre ei. Se aseamana prin onestitatea de a ramane ei insisi, curajul de a ramane ei insisi, consecventa de a ramane ei insisi, de a nu face concesii, de a nu cauta succesul, de a cauta fiecare numai adevarul lui.

















Arvo Pärt este estonian, nascut in 1935. Pana in anii '60 a compus muzica seriala. Evident criticat de autoritatile culturale ale regimului sovietic pentru decadentism. Vreo 15 ani nu a mai compus nimic. A simtit ca nu trebuie sa cedeze cenzurii - mai bine nu mai compune. A simtit pe de alta parte ca nu muzica seriala este drumul lui ca el trebuie sa caute altceva.

15 ani a cercetat: muzica Renasterii, cantul greogorian, muzica liturgica ortodoxa. A reinceput sa compuna in 1977: Summa, Fratres, Magnificat, Antifoanele de Craciun, Fericirile. Si multe altele. Spiegel im Spiegel, Festina Lente. Muzica corala, muzica de camera - ascult vrajit un CD care mi-a venit tocmai din Anglia - de abia la el inteleg ce inseamna de fapt minimalismul in muzica - o singura nota bine compusa e de ajuns - apoi tacere, ca sa meditezi nota aceeea singura. Si desfasurarea linistita a muzicii, cu note putine si rare, cu taceri care sunt incarcate de muzica.



Teiji Ito s-a nascut in Japonia, dar a trait la New York. Nu a avut studii muzicale regulate. Stia insa sa cante la orice instrument, oricat de ciudat si de nou pentru el, la flaut japonez, la sticle pline de apa, la tobe, la solzi de peste, la marimba, la piane cu un singur deget. Stia sa proceseze banda magnetica - asa incat isi compunea muzica pentru fiecare instrument (in general instrumente exotice, japoneze sau latino-americane), o interpreta pe rand la fiecare instrument si se inregistra, apoi procesa inregistarile si rezultatul era muzica polifonica. A compus muzica pentru doua filme ale Mayei Deren, asa a ajuns cunoscut, a compus suita Ubu Rege, care este geniala, a compus apoi Teno (pe care o astept). A compus mult mai mult, dar numai astea sunt in vanzare.

Ubu Rege este o nebunie. Fiecare parte a suitei este neasteptata - te crezi ba in Japonia, la un spectacol de teatru Kabuki, ba in podisurile boliviene, ba intr-un bar argentinaian ascultand un tango nostalgic, ba printr-un subsol in Soho, alaturi de alti betivi, ascultand un blues interepretat la un instrument ciudat, un soi de pian cu un singur deget, cu acompaniament de sticle cu apa.

A murit relativ tanar, intr-una din calatoriile lui in Haiti. Si a iubit-o mult pe Maya Deren. Cenusa ei a raspandit-o pe muntele Fuji.

















James Tenney a compus muzica cea mai greu accesibila, dintre ei toti. Si-a urmat drumul lui. Hodos, Meta Hodos, Meta Meta Hodos. Muzica ergodica. Mai am putin si voi termina de citit tratatul lui de muzicologie. Hodos inseamna drum. Drumul pe care merge muzica noua. Meta Hodos este metodologia acestui drum al muzicii noi. Meta Meta Hodos este formalizarea acestei metodologii. Ergos este munca pe care o depui pe Hodos, pe drumul muzicii noi.


Conlon Nancarrow a compus aproape exclusiv muzica pentru player-piano. A trait ca un anahoret in Mexico-City, pentru ca ii era imposibil sa gaseasca interpreti pentru muzica lui s-a decis sa compuna pentru player-piano: un an de munca pentru cinci minute de muzica. Daca asculti studiile lui pentru player-piano cu sonorul potrivit de redus, are puritatea clavecinului. Este jazz structurat bachian.

Muzica minimalista - Philip Glass

Cine zice Philip Glass zice minimalism, cine spune minimalism spune Philip Glass, doar Philip Glass zice ca nu e minimalist. Asa merg lucrurile pe lumea asta.

Aici e o fotografie de-a lui din 1976: Portret al artistului din tinerete, cum ar fi remarcat desigur Joyce. Philip Glass are acum 70 de ani.

NY Times a publicat cu o luna in urma un articol dedicat muzicii minimaliste, punand la un loc opiniile mai multor critici: James R. Oestreich, Anthony Tommasini, Bernard Holland, Allan Kozin, Anne Midgette, Steve Smith, Vivien Schweitzer. Va ofer o copie la sfarsitul mesajului.

Pentru Bernard Holland, muzica minimalista inseamna sa vorbesti mult si sa spui putine. Asa incat Mahler nu era minimalist, caci nu vorbea mai mult decat spunea. Saint-Saëns nu era nici el minimalist: vorbea putin, spunea putine. Cat desprer Webern, ei bine, el nu vorbea deloc dar spunea foarte multe.

Asa ca stim cel putin cine erau non-minimalistii (sa-i numim maximalisti?). Inca nu stim cine sunt minimalistii. James R. Oestreich considera ca minimalistii nu poarta etichete; ei sunt vinovati prin asociere: compozitori minimalisti sunt cei care s-au imprietenit cu artisti minimalisti. Si stim, desigur, cativa artisti minimalisti, Richard Serra de exemplu, sau Sol LeWitt. Spune-mi cu cine te intalnesti.

Cat despre Anne Midgette, ea a gasit chiar si un proto-minimalist: Bruckner, care compunea muzica ca si cand ar fi scris paragrafe lungi de tot (indiferent ce ar vrea sa insemne fraza aceasta).

Okay, dar cine sunt minimalistii din muzica, la urma urmelorl? Iata lista scurta: Philip Glass, Steve Reich, John Adams, John Cage, Arvo Pärt, Count Basie (da, si el). Acum, fiecare din ei se dezice de termen, sugerand ca ar caracteriza gresit opera lui. Bun, dar hai sa va intreb ceva, ce este atat de rau sa fii numit minimalist?

Si ce inseamna totusi minimalism in muzica? Din cat am ascultat eu (lista mea fiind mult, mult mai scurta: am ascultat muzica de Glass, de Adams si de Pärt), as spune ca esential in muzica lor este folosirea de structuri repetitive care creaza in ascultator un fel de halo, obsesiv, hipnotic. In acelasi timp este o muzica accesibila, chiar user friendly (Bernard Holland sugereaza chiar ca o poti asculta in tmp ce mergi la frigider sa iei un pahar de apa sau raspunzi la telefon, oricum muzica minimalista este repetitiva).

Prima mea intalnire cu minimalistii a fost Philip Glass. Eram intr-o librarie, in raionul muzical, si ascultam fragmente de CD-uri, la nimereala. Asa am dat peste Aguas da Amazonia, de fapt rodul unei colaborari intre Glass si un grup de percutie brazilian, Uakti. Glass compusese 12 piese pentru balet, de cantat la pian, iar brazilienii produsesera o versiune pentru marimbas. Muzica era nebunesc de frumoasa. Raul Tiquie: simti sunetul apei curgatoare, jucaus si intelept. Raul Japura: suna un pic diferit, oameni care danseaza pe malul raului, candva in vremea diminetii. Raul Purus: alt ceas al zilei, starea de spirit devine mai serioasa. Raul Negro: ceva pluteste pe suprafata raului, amestecandu-si sunetul cu cel al apei. Raul Madeira: ziua avanseaza, iar starea de spirit devine mai meditativa. Raul Tapajos: spiritul e din nou un pic jucaus. Raul Paru: e ca o povestioara spusa cu dulceata in glas. Raul Xingu: pare sa aiba loc un ritual tribal. Amazonul: aduna apele tuturor afluentilor, spiritul lor, starile lor. Si apoi Metamorfoze I, cantate la marimbas!

Am ascultat apoi fragmente din O Coborare in Maelström. De data asta muzica era solemna, in timp ce in Aguas da Amazonia mood-ul fusese mai mult jucaus. Am ascultat apoi un pic In the Upper Room, apoi cateva alte lucrari de-ale lui, orga si sintetizatorul sunand grozav.

Pana la urma am cumparat un DVD cu un film a carui muzica era compusa de Glass: Koyaanisqatsi. Am vazut filmul in aceeasi seara. Ca sa fiu sincer nu m-a impresionat cine stie ce, si asta pentru ca tocmai vazusem filmele Mayei Deren. Sunt atat de pure, incat dupa aceea orice alt film nu mai poate sa iti spuna nimic.

Asa incat Koyaanisqatsi mi s-a parut prea incarcat dar mi-a placut foarte mult limbajul sau. Un limbaj alcatuit exclusiv din imagini marete si muzica mareata. Un documentar ecologic. Filmul era fara cuvinte, vorbind numai prin imagini si muzica. Un echilibru perfect intre imagini si muzica! Aceleasi structuri repetitive in imagini, in muzica, acelasi efect hipnotic. Armoniile imi aminteau de Vangelis.

Numai ca Vangelis inseamna si melodie, pe cand aici la Glass, era altceva. Pattern-urile repetitive, miscandu-se incet, creand un efect de transa. Muzica lui este ritual, un univers de incantatii.

Ei bine, Maya Deren inseamna si muzica lui Teiji Ito - trebuie insa sa ascult mai multa muzica de Ito ca sa pot sa judec si sa il plasez pe Glass intr-un context mai larg decat minimalismul.

Dupa ce am vazut filmul am cumparat un CD cu muzica de Philip Glass. Alegerea a fost un disc care continea Glassworks si In the Upper Room. Puteti sa ascultati aici un fragment din Glassworks (impreuna cu fragmente din Metamorfoze, Einstein pe plaja, Orele, etc).

Glassworks suna frumos (si titlul este inspirat, sugerand delicatete si miracol: miracolul delicat al unei lucrari de arta create din sticla). Are sase parti: Introducerea este solo pian, iar Finalul repeta Introducerea intr-o versiune orchestrata. Celelalte parti (purtand titluri neasteptate: Ochi de gheatza, Insule, Norma, Fatzade) sunt toate orchestrate. Fiecare parte este bazata pe o structura repetitiva, cu care intri in atmosfera piesei - dupa acea apare o dezvoltare, o alta fraza in dialog cu structura de baza. Cateva variatiuni in final.

Am ascultat din nou muzica din Koyaaniskatsi. Aceeasi arhitectura: o structura repetitiva la orga, care creaza atmosfera; apoi apare dezvoltarea, interpretata de cor, in dialog cu basso continuo de la orga.

Am gasit apoi pe web o muzica de pian foarte asemanatoare cu Glassworks: Metamorfoze. Din nou Introducerea, apoi cinci Metamorfoze, Acte de poet, Lucruri moarte, Vals modern de dragoste. Muzica din Koyaaniskatsi suna solemn, aici in Metamorfoze este delicatete. Chiar acum ascult Lucuri moarte si incerc sa urmaresc meditatia... Cum o suna oare Valsul modern de dragoste? Da, bine inteles ca este un pic diferit, un pic jucaus, aceeasi delicatete. Faceti click aici sa ascultati si sa imi dati dreptate!

Sa ma intorc insa la CD-ul cu Glassworks, urmate de In the Upper Room (faceti click aici sa ascultati cateva fragmente). Muzica a fost compusa pentru un balet, interpretat de catre trupa Twyla Tharp. Pe manseta CD-ului sunt cateva informatii despre spectacolul de balet: amestec de traditional si modern, dansatori imbracati in costume de la alb-negru pana la rosu, culorile amestecandu-se cu structurile repetitive ale muzicii lui Glass, creand un efect hipnotic. Univers de ritual, de magie, univers incantatoriu.

O sa ma ocup de muzica lui Adams si Pärt mai tarziu, mesajul asta este de acum cam prea mare, hai sa incercam sa tragem cateva concluzii despret Glass.

Gluma care se spune despre Vivaldi (a compus oare 300 concerte sau unul singur de 300 de ori?) se potriveste perfect la Glass. Asculti o piesa de-a lui, le stii pe toate. Bine inteles ca nu e adevarat, dar multi afirma ca omul asta nu a avut inventivitate melodica, doar structuri repetitive care devin plictisitoare... nici asta nu e adevarat. Adevarul este ca universul lui muzical este diferit. O sa o spun din nou, muzica lui nu este melodie, ci incantatie. Nu melodie, ci melopee.

Compozitor de opere (Einstein pe plaja de exemplu), balet, muzica de film, simfonii, muzica de camera, extrem de prolific, avand propriul lui ansamblu de muzica, cu inregistrari faimoase, ei bine, tind sa cred ca Glass este un compozitor de succes cu toate bunele si relele pe care le aduce succesul. Un artist ar trebui sa isi urmeze neabatut calea lui (cum au facut Tenney sau Nancarrow), in timp ce o istorie de succes in business-ul muzical inseamna sa iti parasesti universul tau si sa te cobori in lumea muritorilor, sa faci concesii gustului publicului, si sa pierzi ceea ce este unic in tine: in cazul lui Glass, lumea magica in care zeii sunt implorati prin litanii lungi, unde in locul melodiei asculti taraganata melopee, iar vrajitoria devine posibila.

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Iata si copia articolului din NY Times:

August 10, 2007
Don't Call It Minimalism (Just Listen)
By THE NEW YORK TIMES
BY and large musical Minimalists don't carry cards. But they do know something about guilt by association.

Most composers commonly called Minimalists have disavowed the label at one point or another, suggesting that it mischaracterizes their music, which can be mind-bogglingly intricate -- and huge. And they certainly don't consider themselves part of a school. The designation arose mainly from the friendships of composers with Minimalist artists: Steve Reich and Philip Glass, for example, with the sculptor Richard Serra.


But there certainly was something new and big (however minimal the means) stirring in the second half of the 20th century. With roots in the styles of Lou Harrison, La Monte Young, Morton Feldman, John Cage and others, music characterized by great rhythmic drive, simplified harmonies and hypnotic repetition blossomed in signal works by Terry Riley, John Adams, Mr. Glass and Mr. Reich. The pollen carried far and wide, even to Eastern Europe with the ''mystical Minimalism'' of Arvo Pärt and others as a spiritualized offshoot.

The 70th-birthday year of Philip Glass, which is being widely observed, seems as good a time as any to take stock of the Minimalist achievement by way of recordings. So the classical music critics of The New York Times have singled out favorite recordings of music by various forerunners (including the jazz great Count Basie), the early giants and those who later fell under the influence (including the Dane Poul Ruders).

None of this is likely to settle disputes about what, if anything, the various composers have in common, for the music is wildly varied. But it should at least lay out some of the terms of the argument, in addition to providing good listening. JAMES R. OESTREICH

ANTHONY TOMMASINI

REICH ''Different Trains,'' ''Electric Counterpoint.'' Kronos Quartet (Nonesuch 79176; CD).

ADAMS Piano works. Ralph van Raat, pianist (Naxos 8.559285; CD).

ADAMS ''The Death of Klinghoffer.'' Vocalists; Orchestra of the Opéra de Lyon, conducted by Kent Nagano (Nonesuch 79281; two CDs).

RUDERS Violin Concerto No. 1; other works. Rolf Schulte, violinist; Riverside Symphony, conducted by George Rothman (Bridge BCD 9057; CD).

Well before the spring of 1989, when I first heard the Kronos Quartet perform Steve Reich's ''Different Trains,'' Mr. Reich's music had grown far beyond the confines of the stylistic label Minimalism.

The concept for this ingeniously complex 1988 work came from Mr. Reich's memories of childhood travels on transcontinental trains in the late 1930s and early '40s to visit his divorced parents: his mother in Los Angeles, his father in New York. The constant clacking of the train on the tracks imprinted itself on his musical imagination. While contemplating this piece, Mr. Reich realized that, as a Jew, had he been in Europe during his youth he would probably have been traveling on quite different trains.

The piece's repetitive rhythms, cyclic riffs and persistent whistles convey the nervous, hypnotic sounds and feelings of train travel. Weaved into the textures are the recorded voices of the governess who accompanied Mr. Reich on his journeys and an old Pullman car worker, as well three Jewish refugees. The speeches, as transcribed with uncanny accuracy into pitches and rhythms, become another element in the music. The work is at once exhilarating, haunting and ominous, qualities arrestingly conveyed in the Kronos Quartet's recording.

John Adams was initially associated with Minimalism. A beguiling recent recording of his complete piano music, performed by Ralph van Raat, includes scintillating performances of ''Phrygian Gates'' and ''China Gates,'' early scores that show the composer at his most openly and sonorously Minimalistic.

But Mr. Adams had bigger musical things in mind, like his landmark opera ''Nixon in China.'' Though I greatly admire this work, I am especially affected by ''The Death of Klinghoffer'' (1991), written with the same librettist, Alice Goodman, and director, Peter Sellars. The opera has been attacked for what is perceived as its sympathetic depiction of the Palestinian terrorists who murdered Leon Klinghoffer aboard an Italian cruise ship in 1985. But the creators think of the opera as a reflective work in the spirit of the Bach Passions, which mix storytelling and commentary. The score flows in undulant waves of luminous yet piercing harmonies, with elegiac, melodic writing and violent, searing outbursts.

The Danish composer Poul Ruders acknowledges that he has been influenced by Minimalism. The repetitive figurations, jittery thematic lines and obsessive rhythms that abound in his invigorating Violin Concerto No. 1 (1981) would seem to prove the point, though I'd be careful about labeling it a work of Minimalism, at least in the presence of its formidable composer.

BERNARD HOLLAND

REICH ''Drumming.'' So Percussion (Cantaloupe CA21026; CD).

ADAMS ''Nixon in China.'' Vocalists; Orchestra of St. Luke's, conducted by Edo de Waart (Nonesuch 79177; three CDs).

CAGE ''Two2''; works for two pianos. Double Edge (Edmund Niemann and Nurit Tilles; CRI 732; CD).

BASIE ''Complete Clef/Verve'' (Mosaic Records limited edition; eight CDs).

Minimalism is a musical art that says very few things over long periods of time. This is in opposition to music that takes a long time to say many things (Mahler), music that says very little in normal amounts of time (Saint-Saëns) or music that says a great deal in practically no time at all (Webern).

Minimalism can be employed by several percussionists (''Drumming'' by Steve Reich with So Percussion) or an entire opera company (John Adams's ''Nixon in China''). It is also comfortable on two pianos (''Two2'' by John Cage, played by Edmund Niemann and Nurit Tilles). Minimalism, in other words, is user-friendly.

''Drumming'' is in four parts and goes on for quite a while (73 minutes 8 seconds, to be exact). It starts unpromisingly, but once the mind attaches itself, the music gathers an adhesive strength. As color and complexity of movement gradually evolve, the paradox of Minimalism sets in: Listeners enter a trancelike involvement but can answer the phone or go to the refrigerator and not miss much at all.

''Nixon in China'' translates repetition into a kind of theatrical energy. Diplomatic ritual is made to dance; political and personal anxieties take on a machinelike tic. Minimalism becomes a dramatic tool, proving its further usefulness.

I like the Cage piece precisely because so little happens. It is a slow, calm appropriation of musical space. ''Two2'' is from 1989 and at quite a distance from the two other Cage pieces from the mid-1940s on this recording, ''Experiences'' and ''Three Dances.'' Both are quite busy.

It is hard to leave the subject of Minimalism without mention of Count Basie, master of the art of leaving out. Basie's piano solos framed unspoken musical phrases with dabs of music: chords doing the work of a jazz-music continuo and fragments of melody that point at things present but unsaid. The richness of the silences -- the tantalizing promises therein -- were at odds with the art of Basie's colleague Art Tatum, who seemed determined to fill musical space with as many notes as possible. Minimalism, here as elsewhere, fills time with a minimum of means.

ALLAN KOZINN

ADAMS ''Shaker Loops,'' ''Light Over Water.'' The Ridge Quartet; other performers (New Albion NA014; CD).

GLASS ''Satyagraha.'' Vocalists; New York City Opera Orchestra and Chorus, conducted by Christopher Keene (Sony-BMG Masterworks M3K 39672; three CDs).

GLASS ''Koyaanisqatsi.'' Western Wind Vocal Ensemble; Philip Glass Ensemble, conducted by Michael Riesman (Nonesuch 79506, CD; MGM 1003766, DVD).

REICH ''Tehillim,'' ''The Desert Music.'' Ossia; Alarm Will Sound, conducted by Alan Pierson (Cantaloupe CA21009; CD).

It sounds oddly conservative and spare now, but ''Shaker Loops'' (1978) was a bombshell in its time, and it introduced John Adams as an important voice in the still fresh Minimalist rebellion against modernist complexity. Mr. Adams offered all the repetitive energy that propelled Philip Glass's and Steve Reich's most popular scores, but his quicker harmonic development, sudden dynamic changes and other startling touches pointed toward the next step -- emotional and dramatic -- that this style needed to take.

Mr. Adams's later orchestration gave the work a graceful sheen, but the original chamber recording has an endearingly homespun quality. The companion piece, ''Light Over Water'' (1983), is a pleasantly spacey oddity for brass and synthesizers.

''Satyagraha'' (1980) was Mr. Glass's move toward Romanticism, a leap from his wheezy, rhythmically intricate writing for amplified chamber band to full-fledged scoring for orchestra, chorus and operatic voices. Its stage action shows the development of Gandhi's nonviolent resistance techniques to combat racism during his early years in South Africa. But with the text drawn directly from the Bhagavad-Gita, the story of an epic clan battle, and sung in Sanskrit, the work is also a magnificent oratorio version of this classic Hindu text. Nearly three decades on, it remains Mr. Glass's most wrenching opera. Though a new recording is long overdue, this 1985 performance captures much of the work's spirit.

''Koyaanisqatsi'' (1983) extended the neo-Romanticism of ''Satyagraha'' with picturesque scoring and a refreshed harmonic vocabulary. It also works brilliantly as the soundtrack of the first and best installment of Godfrey Reggio's film trilogy about humanity's mostly malignant influence on the earth, its alternately lyrical and vigorous movements accompanying visions of everything from the grandeur of Southwestern deserts and cloud formations to urban crowds in slow motion and sped-up film of highway traffic. The 1998 remake on Nonesuch is superb, but the way to experience this work is on the DVD.

Except for a few early works in which recorded speech was mined for its rhythmic qualities, Steve Reich devoted himself to instrumental works until 1981, largely because he didn't want his musical line dictated by the text. Biblical Psalms and a William Carlos Williams poem about the nuclear age helped him solve that problem. In ''Tehillim'' (1981) the Hebrew texts lend themselves to Mr. Reich's sharp-edged rhythmic style, which in turn yields a timeless, almost ritualistic quality. And in ''The Desert Music'' (1984; heard here in a texturally transparent 2001 chamber version), the haunting setting of the Williams text is magnified by percussion that evokes a ticking clock, and an eerie instrumental shimmer that suggests the desert after a nuclear test.

ANNE MIDGETTE

RILEY ''In C.'' Bang on a Can (Cantaloupe Records CA21004).

GLASS ''Einstein on the Beach.'' Vocalists; Philip Glass Ensemble, conducted by Michael Riesman (Nonesuch 79323; three CDs).

REICH Music for 18 Musicians. Amadinda Percussion Ensemble (Hungaroton 32208; CD).

ADAMS ''Harmonium''; ''The Death of Klinghoffer'' Choruses. San Francisco Symphony Orchestra and Chorus, conducted by John Adams; Orchestra of the Opéra de Lyon, London Opera Chorus, conducted by Kent Nagano (Nonesuch 79549; CD).

Anton Bruckner was a proto-Minimalist, the composer Ingram Marshall suggests: ''He writes music like he's writing great paragraphs.''

That comment helps define a musical term that has been overused, misunderstood and often rejected by the very composers to whom it is usually applied. Minimalism can be understood as a form of musical dramaturgy in which the music grows not out of the contrast between linear phrases but from the juxtaposition of building blocks of sound.

But the term Minimalism fails to connote the aural richness that can arise even in the early, most repetitive pieces, a richness that is being increasingly mined by the current generation of performers. Minimalism, in its fifth decade, is encountering the same issues of original versus modern instruments that arise with any bygone music.

The early recordings have a scrappiness, a defiance and, in some cases (like the original 1979 recording of ''Einstein on the Beach''), the limitations of old synthesizers. But today the music is in musicians' fingers and ears. Just as it took a generation for pianists to conquer Beethoven's ''Hammerklavier'' Sonata, the most intricate patterns of a Steve Reich are no longer in themselves a challenge.

I like the toughness and aura of what you might call the period instruments of the 1970s, but when it comes to choosing recordings I seem to come down on the side of opulence. Terry Riley's 1964 ''In C,'' the defining work of Minimalism, belongs in every music library, and Bang on a Can's performance has a fluidity that brings out the depth of the repeated, interlocking patterns and the pleasure of listening to them.

''Einstein on the Beach'' is another -- if not the other -- seminal Minimalist work. The Nonesuch recording, made 17 years after this opera's 1976 premiere, approaches it with the reverence due a masterpiece, smoothing down the rough edges and stressing the seriousness. It also restores 30 minutes of music that was cut from the original cast recording. On grounds of completeness alone, not to mention aural beauty, this 1993 recording is the one to get; here, the subtly changing kaleidoscope patterns of sound that grow out of the repeated syllables and notes only gain in color and depth.

Steve Reich himself waxes eloquent about Amadinda, a Hungarian percussion ensemble, and its performance of his seminal Music for 18 Musicians, which becomes a feast for the ears in this reading. Having expressed my enthusiasm for Mr. Reich's music sufficiently elsewhere, I have refrained from filling this list with his works alone.

''Harmonium,'' the first John Adams piece I heard, remains a personal favorite. Mr. Adams, unlike Mr. Glass, shows a specific awareness of vocal timbre; these settings of three Emily Dickinson poems play deliberately with the qualities of vocal sound. There is also a sense of the Americanness of this music: at once straightforward and with a kind of baroque fullness. This quality is increasingly evident in the later work of Mr. Glass and Mr. Reich as well as the work of Mr. Adams, for whom the term Minimalism is today decidedly a misnomer.

STEVE SMITH

GLASS Music in 12 Parts. Philip Glass Ensemble, conducted by Michael Riesman (Nonesuch 79324; three CDs).

GLASS ''Glassworks.'' Philip Glass Ensemble, conducted by Michael Riesman (Sony Classical SK 90394; CD).

ADAMS ''The Chairman Dances''; other works. San Francisco Symphony, conducted by Edo de Waart (Nonesuch 79144; CD).

GLASS ''Akhnaten.'' Vocalists; Stuttgart State Opera Orchestra and Chorus, conducted by Dennis Russell Davies (Sony Classical Germany 91141; two CDs).

Among admirers of Philip Glass's work, Music in 12 Parts has long been considered his rough equivalent of Bach's ''Art of Fugue.'' Written from 1971 to 1974, the extensive cycle is a four-hour compendium of Mr. Glass's early compositional concerns. Fragmentary melodies and pulsating rhythms repeated at length evoke something of a trance state, so that tiny shifts in pitch or meter feel like major events. Yet the work also pointed toward future possibilities; the vocal writing in particular seems to predict ''Einstein on the Beach.''

In 1981 Mr. Glass was signed to an exclusive recording contract with CBS Masterworks, the first composer afforded such a berth since Aaron Copland. ''Glassworks,'' Mr. Glass's first CBS release (now available on its successor label, Sony), acknowledged and even partly enabled his potential for crossover success. Whereas earlier recordings had documented music from his ensemble's active repertory, the six pieces on ''Glassworks'' were specifically conceived as an album accessible to new listeners. Concise, evocative works like ''Floe'' and ''Rubric'' anticipated Mr. Glass's lucrative sideline as a film composer; the melancholy ''Facades'' remains a staple of his concerts.

The music on ''The Chairman Dances,'' a 1987 CD of works by John Adams, might not originally have been conceived as an introduction to his work, but the disc serves that purpose nonetheless. Mr. Adams reconciled techniques pioneered by Mr. Glass and Steve Reich with the resources of the Romantic orchestra in the 1985 title work, an uninhibited explosion of succulent melody and swooping French horns inspired by the scenario of Mr. Adams's first opera, ''Nixon in China.'' Casting his net wider still, he evoked traditional hymnody in ''Christian Zeal and Activity'' and summoned the spirit of Charles Ives with the lonely trumpet lines of ''Tromba Lontana.''

Also in 1987 CBS issued a recording of Mr. Glass's third opera, ''Akhnaten,'' a portrait of the iconoclastic pharaoh who briefly imposed a monotheistic religion in Egypt. Compared with ''Einstein'' and its successor, ''Satyagraha,'' the opera seems almost conventional in its procession of narrative tableaus. But Mr. Glass's lean, percussive score includes some of his most viscerally exciting music, and assigning the lead role to a countertenor was a bold stroke.

''Hymn to the Aten,'' the pharaoh's second-act paean to his deity, is one of the composer's most communicative and ineffably beautiful creations; Mr. Glass, who must have had a sense of his achievement, instructed that the aria always be performed in the native language of the country where it is being performed.

VIVIEN SCHWEITZER

ADAMS ''Shaker Loops,'' ''The Wound-Dresser,'' ''Short Ride in a Fast Machine.'' Bournemouth Symphony, conducted by Marin Alsop (Naxos 8.559031; CD).

GLASS Violin Concerto; other works. Adele Anthony, violinist; Ulster Orchestra, conducted by Takuo Yuasa (Naxos 8.554568; CD).

REICH Music for 18 Musicians. Steve Reich and Musicians (Nonesuch 79448; CD).

REICH ''City Life,'' ''New York Counterpoint,'' ''Eight Lines,'' ''Violin Phase.'' Ensemble Modern (BMG/RCA Victor 74321 66459 2; CD).

The diverse moods of John Adams are alluringly conveyed by Marin Alsop and the Bournemouth Symphony Orchestra on a Naxos disc that opens with a sparkling performance of the wildly exuberant ''Short Ride in a Fast Machine.'' In ''Shaking and Trembling,'' the first movement of ''Shaker Loops,'' the Bournemouth strings play as if possessed, hurling colorful arrows of sound into the kaleidoscopic dartboard of orchestral textures. The frenzied rapture builds to a dizzying fervor before melting into the eerie glissandos of the next movement. Also included is a performance of Mr. Adams's gloomy ''Wound-Dresser,'' sung by the fine baritone Nathan Gunn.

Philip Glass's Violin Concerto is his first major orchestral work. It adheres to a traditional three-movement, fast-slow-fast structure for conventionally scored orchestra, but with its insistent opening chords, chromatically undulating harmonies and the soloist's mournful arpeggios, this theatrical work is signature Glass. On the fine Naxos disc Takuo Yuasa leads the Ulster Orchestra and the violinist Adele Anthony in a vibrant, throbbing performance. Ms. Anthony's sweet-toned, romantic playing soars over the waves of pulsating orchestral rhythms, played here with enough tension to create a taut web of sound. The disc also includes enjoyable renditions of ''Company'' and excerpts from ''Akhnaten.''

Like all masterpieces, when played with integrity and passion Steve Reich's Music for 18 Musicians -- the seminal 1976 chamber work in which he used his broadest palette of harmonic language to date -- never loses its fascination. In this 1996 recording Mr. Reich and his band of musicians build on the layers of blinding colors and hypnotic rhythms in a performance with moods veering from rhythmically energetic and vital to seductively (and deceptively) languid. This performance highlights the work's beautiful surface veneer, underlying levels of complexity and intoxicatingly therapeutic power.

Other notable works from various periods of Mr. Reich's life receive vigorous, intelligent performances by the Ensemble Modern on an RCA recording, which includes ''City Life.'' This aural snapshot of New York streets transforms normally irritating sounds, like sirens and honking horns, into a compelling musical fabric. The turmoil of city life is also aptly conveyed in a taut, jaunty rendition of ''New York Counterpoint,'' performed by Roland Diry, a stellar clarinetist. The disc also includes bristling performances of ''Eight Lines'' and, with Jagdish Mistry as the excellent soloist, ''Violin Phase.''

The recordings mentioned range in price from $9 to $20 for one CD, $24 to $34 for two CDs and $34 to $44 for a three-CD set; the eight-CD set is $136; the DVD is $22.44.

Augustus Vincent Tack - Maturat de zapada

Augustus Vincent Tack, Maturat de zapada, a saptea alegere. Pictura a fost facuta cam prin 1900, in Noua Anglie (in Leyden, Massachusetts).

Maturat de zapada, muntele de zapada, pictura de zapada: albul este aproape absolut. Din nou singur, pe culme, undeva la limita. Dincolo este cerul, si vantul, si zapada. Dincolo este tinutul zapezilor vesnice.

Primul film facut de Brakhage, Interim: un baiat si o fata se intalnesc din intamplare. El tocmai a coborat de pe un viaduct enorm, ea venea din directia opusa. Peisaj industrial. Strada este traverstata de o linie de cale ferata, un tren tocmai trece, incet, un marfar. Cei doi adolescenti asteapta, fiecare pe partea cealalta a linei ferate. Trenul a trecut, ei se observa si isi zambesc. Incep sa discute si se plimba un pic impreuna. Un rau e prin apropiere, se aseaza pe mal. Ploaia incepe deodata, un soi de coliba darapanata este aproape. Cei doi alearga inauntru, s eimbratiseaza si incep sa se sarute, doar pentru un moment. Ploaia inceteaza, cei doi ies din coliba. El pleaca, se urca pe scari spre viaduct, ea asteapta sa treaca alt marfar, incet.

Exista aici un subiect, dar foloseste numai ca pretext. De fapt filmul construieste un mic univers neorealist si se joaca putin inauntrul lui.Asta-i tot. Brakhage era in varsta de 19 ani. Tenney a compus muzica filmului. Era in varsta de 18 ani. Era anul 1952.

Desistentialism

Unii zic ca Desistfilm este al treilea film al lui Stan Brakhage. Altii spun ca este al cincilea, sau chiar al saselea. Oricum, flacaul avea douazeci de ani si era nebun dupa filme, asa cum avea sa ramana toata viata.

Se pare ca Desistfilm a fost facut din intamplare. Cel putin asa se povesteste. Brakhage promisese unor prieteni ca le va proiecta cateva filme la o petrecere si nu avea destul material. Cum Brakhage tocmai facuse rost de patru role de film care fusesera destinate pentru aparate de filmat montate pe mitraliera si care supravietuiseara celui de-al doilea razboi mondial, decizia lui a fost prompta: sa se duca la petrecere si sa faca acolo filmul pe loc.

Yvonne Fair era la petrecere, si James Tenney, si Walt Newcomb, Larry Jordan, Bob Benson si Alex Austin. Pe vremea aceea toti acestia nu erau decat o gasca de beatnici, prieteni toti cu Brakhage si jucand in filmele lui (cei mai multi dintre ei jucasera de altfel in Unglassed Windows Cast a Terrible Reflection). Ei bine insa, in seara aceea toti erau beti crita.

Bob Benson avea sa continue sa joace in filmele lui Brakhage inca vreo cativa ani, pana va deveni actor TV. Yvonne Fair si Walt Newcomb jucasera superb in cateva filme de Brakhage, aveau sa renunte la actorie; pacat, aveau figuri extrem de expresive. Larry Jordan avea sa devina cunoscut in cercurile de cinema underground cu colajele lui de animatie, iar James Tenney avea sa devina unul din numele mari ale muzicii compuse pe computer.

Numai ca in seara aceea de demult toti erau beti crita. Si fiecare pe socoteala lui, incapabil sa ii observe pe ceilalti. Muzica era infernala, pianul suna ca un fierastrau taind metal, sau ca doua foi de tabla clampanind una in alta. Cativa dintre ei incercau sa spuna ceva nearticulat, dar renuntau imediat, pentru ca nimeni nu era capabil sa termine o fraza sau sa ii asculte pe altii. Walt incerca sa construiasca un turn din carti, in van, Yvonne incerca sa desire un scul de lana, reusind doar sa se lege cu lana de jur imprejur. Larry isi dadea toata silinta sa isi aprinda o tigara, cu patru chibrite pe care incerca sa le tina intr-o mana, aranjate intr-un soi de morisca. Fiecare fuma in draci si bea de parca tutunul si bautura ramasesera singurele lucruri care mai puteau sa aiba un sens oarecare.

Bob incerca sa cante la o mandolina, fara sa reuseasca, asa ca tipul renunta, isi desfacu pantalonii si incepu sa isi curete buricul, probabil un act de crestere a cunoasterii de sine prin autoconstientizare: se pare ca pe vremea aceea conceptiile lui existentialiste erau profunde, asa incat nu putea fi sigur decat de el insusi.

Stan se facu si el foarte repede turta, ba chiar si camera de filmat deveni turta, urmarind betivi cu ochi de betiv.

In fine, asa spune povestea. O poveste despre cum a fost facut un film de sase minute, la o petrecere de tineri beti crita, candva prin anii cincizeci, undeva prin Colorado.

Este un film foarte important, si iata dece.

Este prima oara cand camera de filmat a lui Brakhage devine subiectiva in mod premeditat. In loc sa ne istoriseasca un story urmarit din afara, observatorul devine aici parte a acestui story; in loc sa vada scena din exterior, aici camera de filmat devine parte a scenei, asa ca filmul este mai curand o poveste despre cum a fost vazuta povestea. Brakhage nu cunoastea pe atunci filmele lui Dziga Vertov, dar mergea pe acelasi drum.

Este primul film al lui Brakhage in care camera de filmat devine cu adevarat parte din el insusi, iar el devine parte a camerei sale de filmat. Si aici Vertov ne vine din nou in minte. Numai ca in cazul lui Brakhage mai e ceva: daca el e parte a camerei sale de filmat, iar camera sa de filmat este parte din el, atunci camera ii intra in viata lui, iar viata lui devine filmele sale. Ii vezi filmele, il vezi pe el. Si el va gasi curajul si onestitatea sa ne spuna totul, despre nastere si despre moarte, despre sex si despre tot soiul de intimitati, despre frica si despre entuziasm, despre nebunie - si ii va fi imposibil sa faca altfel pentru ca era legat pentru todeauna de camera lui de filmat. Si dupa multi ani, va renunta la camera - filmele lui din anii optzeci si nouazeci vor fi pictate de mana direct pe celuloid. Imersiunea sa in lumea filmata de el va deveni totala.

Darragh O'Donoghue considera ca Desistfilm este un prototype horror movie, shot through with the quicksilver sensibilities of Cocteau and Epstein (Senses of Cinema). As spune ca este mai degraba voyeuristic, pentru ca poarta in el un sens al intimitatii aproape de nesuportat. Aici a fost marea arta a lui Brakhage: apropierea dintre cineast, camera de filmat si scena. Fiecare, cineast, camera de filmat si scena, se observa unul pe celalat cu minutie. Rezulta un univers in care oameni, obiecte si timp devin aidoma, pierzand orice contact solid cu realitatea concreta, cumva plutind in spatiu, comportandu-se neasteptat si fiind in primul rand amenintatoare; un univers unde nimeni nu mai este in control; iar ceea ce rezulta este un simt oribil de claustrofobie si paranoia.

Si dece titlul acesta, Desistfilm? Ei bine, pentru generatia beat a anilor cincizeci, rebeli fara cauza, nici macar existentialismul nu mai merita sa existe.

Rockwell Kent - Tara de Foc

Rockwell Kent, Tara de Foc, a sasea alegere. Arata ca o fotografie si imi place exact din acest motiv. Pentru ca aratand ca o fotografie ne spune de fapt ca nu este realitatea noastra, ci o imagine care isi are propria ei realitate.

Privesc pictura lui Rockwell Kent si gandul imi zboara deodata spre marele cineast care a incetat din viata de curand, Ingmar Bergman. Cel care a purtat in filmele sale toate dilemele si paradoxurile universului sau protestant. O sa imi spuneti ca era ateu. Ei bine, ca esti sau nu credincios, apartii universului tau si ii porti crucea. Universul protestant, cu focusul sau teribil pe predestinare: inseamna in fond inevitabilitatea pedepsei vesnice. Eroii lui Bergman traiesc sub semnul osandei. O lume cazuta, departe de Dumnezeu: ceea ce inseamna ca fericirea este imposibila. Dragostea este departe: aici pe Pamant exista numai patima si remuscare. Si de aici vine paradoxul: daca osanda este o certitudine si fericirea este imposibila, atunci inseamna ca esgti liber, nu mai ai nimic de pierdut si poti sa provoci dumnezeirea! Asa ca universul protestant a pus in mod paradoxal sub semnul intrebarii orice tabu. Nici o valoare sacra nu a fost crutata, nici biserica, nici familia, nici sexualitatea.