Subject: RE: Solo ea
From: Eldad Tsabary (email@example.com)
Date: Fri Feb 11 2005 - 02:12:48 EST
Eliot Handelman wrote:
>One big difference is that Liszt didn't turn on a CD player. Playing is
>a kind of magic that's stiull
>enthralling when the players are good. It has physicality and
>and the grteatest that anybody can
>do in real time.
>Also, Rachmaninoff hammering at the piano IS hugely about
>self-expression via serious passions
>etc that all persons of feeling poissess, in case they happen to enjoy
>This game still works in pop music but it's become much less overt in
>serious avant-garde music.
>When boulez said, "after all, music is self-expression" back when it
>seemed like a revolutionary statement.
Are you suggesting that as a general rule there is no passion, magic, or
self-expression in the realization of an electroacoustic piece? I
strongly disagree. It is a different type or medium of expression no
doubt, but this is exactly what we love about it.
I do agree however that electroacoustic composition done in solitude in
laboratorial conditions is very different from Rachmaninoff passionately
hammering the piano in front of a live crowd.
You referred to the idea of scoring and realizing an electroacoustic
piece by two different people as "an example of trying to escape the
problem of individual expression."
I am not certain I understand in what way exactly. Do you mean to say
that the composer did not want to deal with the burden of performance
(individual expression?) thus he allowed someone else to take the
reigns? To me it seems not so different from writing a string quartet
and having it played by other people. Either way I don't believe it was
an attempt to escape anything. It was an attempt to create something and
go about it in a creative / empirical manner.
Do you in general just feel that a composer must be a live performer in
order to honestly self-express?
Eldad Tsabary, Composer
813-5999 Monkland Ave.
Montréal QC H4A 1H1
[mailto:firstname.lastname@example.org] On Behalf Of Eliot Handelman
Sent: February 11, 2005 1:17 AM
Subject: Re: Solo ea
Eldad Tsabary wrote:
>Looks like a very inspiring thread by the number of quick responses.
>EA music is indeed solo, not because the composer is the one on the
>- that has been the case throughout history, at least the actual
>composing part has - but because the composer is also the sole
>performer. In that way it is no different in essence from Liszt or
>Schumann playing their solo piano pieces.
One big difference is that Liszt didn't turn on a CD player. Playing is
a kind of magic that's stiull
enthralling when the players are good. It has physicality and gymnastics
and the grteatest that anybody can
do in real time.
Also, Rachmaninoff hammering at the piano IS hugely about
self-expression via serious passions
etc that all persons of feeling poissess, in case they happen to enjoy
This game still works in pop music but it's become much less overt in
serious avant-garde music.
When boulez said, "after all, music is self-expression" back when it
seemed like a revolutionary statement.
Diamanda Galas is or was this kind of self-expressive musician, where
the act is stripped down to
screaming, with for my tastes too much tape looping. The problems begin
when you start layering
all this tech, because it can't fail to raise identity questions that
aren't necessarily answered by
individual works in a very satisfying way.
>Personally, perhaps the most unusual collaboration I had was with
>composer Robert Cuckson in which he made an actual written score
>indicating and describing all required sounds and their organization
>layering and I in turn realized the piece electronically - I was in
>essence the performer of his piece (with much interpretational
An example of trying to escape the the problem of individual expression.
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