being among the "assembled group of around 30 or 40 folks" at the Exeter Cathedral churchscape performance was kind of a very special day for me, too.
just a few days before our departure from germany for our 2 weeks holidays in Blandford, Dorset, I read about the churchscapes series at the dgmlive-website - and realised that i could make an attendance at the Exeter-churchscapes possible: how lucky i was! especially with regard to the fact that i could bring my wife and my 7 year old son with me - it should be the first time for them to listen to live soundscapes.
and even my dad (we had brought with my parents to show them the south of england) decided to not only visit the cathedral, but to listen to the churchscapes,too. he certainly had his doubts, i must admit - since my youth he has always had doubts about my likes and dislikes in music, especially when it comes to rock music, king crimson etc...
and then it really happened: sitting in the chapterhouse, dad well prepared to NOT take any photographs inside the chapterhouse at all
[and imagine my shock when mr fripp himself suddenly appeared at the side of my dad, putting his hand on dad's shoulder and, in his very warm and friendly manner, telling him that he would be very grateful if dad wouldn't take any photographs - funnily enough, my dad didn't understand one single word, since he can't speak english - but guessed the meaning anyway...], my son sitting next to me and my wife some seats away...
interestingly enough, even though i witnessed the abrupt conclusion, too, for me the first of the three parts was the one which touched me the most, the one in which i was involved the most.
all in all, a very special & moving hour this was for me.
the most remarkable point for me was to again witness the huge difference between live performance and recording (which isn't of course something new for me especially since i go to a lot of concerts in classical music, especially piano music recitals). but here, i have never before been so directly involved in the process of building up sounds and structures, the process of a piece of music evolving, including the operating of dials and knobs - and I never before have understood my active role as a listener within the process of music enfolding better than on this occasion - as a result I think that I now fully understand Mr. Fripp's statements on music, performance, and listening.
so this is perhaps the most important effect of the Exeter churchscapes on myself.and, my son and my wife and even my usually sceptic, only classical music-loving dad enjoyed these hour very much - what more could i hope for?
roderich, back home again