Afternoon or evening set? May 8, 2012
Written by fhc339835
This is an excellent soundscape recording, one of the best so far in total, and the best of this certain period around the millenium.
The liner notes indicate that on this day two sets have been performed by Robert, the current download available being the second one, evening set.
However, from same day, new sounds radio broadcasted last summer an excerpt - Threnody. The setting and timbre is similar, the music is not identical though. But John Schaefer of new sounds mentioned as well the music was from the evening performance.
Can anybody help?
Moving January 8, 2012
Written by gasmrv
There’s no doubt RF has a very strong connection to the WFC. This performance is one of the most moving I’ve heard to date, and a must have for those who appreciate RF’s soundscapes.
A Song of Mourning January 5, 2012
Written by mflaherty
Robert begins this Soundscape, one of the best currently available, with a meditative piece called “Paradise Lost”. We have seen this title before, but usually with an accompanying “Paradise Regained”. In this dark Soundscape, there may be reason for hope, but if so, that hope is less certain.
After the dark, slow-building opener, Fripp moves into gentler territory with “Affirmation”. Single, reflective notes overlap, eventually building into an adagio (perhaps even grave) sound, which fades in its last moments into stillness.
That stillness remains in the appropriately titled “Hover”, which actually ends in silence, but that silence is just an eerie calm before the storm.
“Threnody”, a song of mourning, begins innocently enough. Single notes echo into the air, in a way familiar in Fripp’s music. However, the sounds become more disturbing as he continues. This is not ambient music.
A few minutes in, the sound of wordless voices join, overwhelmed by the crowded notes above. They slowly rise in volume and begin to join the fray. Fripp continues adding layers and density until the sound can become overwhelming (in very positive way).
Then, in the last few minutes, the noise begins to fade, and in the end we are left with a single, high, haunting, wordless voice, reminiscent of Morton Feldman’s “Rothko Chapel”. Is this hope? Perhaps, or perhaps it is just an ending, with neither hope nor fear.
All of this from a man with a guitar, playing in real time in front of an audience.
More from 1998 would be most welcome.
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