The Angels of Sodom -
Then the Lord rained down
burning sulfur on Sodom and
Gomorrah—from the Lord out of
the heavens. 25 Thus he overthrew
those cities and the entire plain,
destroying all those living in the cities
—and also the vegetation in the land.
God‘s little plan -
Study based on "The Distributor"
for two pianos.
With happy ending.
Per omnem vitam -
A deeply personal and
exhausting piece,
begun on a profoundly
dismal winter’s day and
completed in July with a
fast and furious guitar solo.
Der Mond ist aufgegangen -
It was a deeply felt desire of mine to create my own instrumental version of this moving old
song. My humbleness towards the work is equally deep. - The poem by Matthias Claudius
was set to music around 230 years ago by Johann Abraham Peter Schulz.
The Distributor -
The Distributor is the start of the Apocalypse.
If records only had a few more grooves, "The Distributor" would also be on the LP.
Florence Coleman -
was playing in the street one week
before her twelfth birthday when she
was run over by a horse and carriage.
She died a few days later.
The fable of the Little Chicken
Thus follows the thoroughly thought-provoking fable of the Little Chicken or An Sicín Beag, as a tale eminently suited to
the encouragement of moral edification of the highest order, the fowl in question being possessed
of boundless love, which – contrary to lofty expectations circumstantially soaring in the cerebral
facility of those in cognisance – remained unreciprocated, and his pleas, after no little illusory
indecisiveness accompanied by lascivious glances and reckless promises, ultimately went unheeded
as pleas are wont to go; being of the world, however, the Little Chicken proved singularly unimpressed
and legged his way, affording, as one increasingly notes today in affairs of such immense delicacy,
personages to vocalise their opinion that the Chicken was of impeccable lineage, and leaving globally excellent
impressions.
Leaving Debussy’s aristocratic and patrician setting behind and expanding the idea of festivals and
processions to span thoughts of rock festivals, beer and carnival. -
Incidentally, anyone seeking the origins of Ravel’s Bolero will find them in the second part of “Fêtes”.
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Translation of this website - Alison Moffat
The fine art of mixing, and listening. The possibility of changing seat during a concert, whatever the music,
of finding the “right” position for listening, perhaps swapping places with the conductor and from there
craning towards the oboes or the first violins; hearing the stage mix of a rock concert, moving a little left
or right, towards the keyboards or the guitars. Going with the music. That would be fantastic – but,
unfortunately, it’s impossible.
And wouldn’t it be nice to listen to a CD or LP from somewhere other than the middle of Row 8? To be closer
to the sound, to hear what the conductor or the singer is hearing. To explore the dynamics instead of
succumbing to the delirium of sheer loudness, yet without needing to adjust the volume continuously.
The mix of “Fine Art” has striven to recreate this ideal. Reverb and unnatural basses are used sparingly and
discreetly. Guitars, flutes and other solo instruments move around the stage; there are no architectural
acoustics to disturb or confuse. The best listening position is decided by the music itself; on the conductor’s
rostrum, right in front of the guitar amp, or in the heart of the string section. Our tip for home listening: when
the quietest parts are clearly audible, the loudest parts are good and loud. This listening rule also applies
to a stationary car; once the car is moving, the quiet sections are drowned by the sound of the engine.