October 2 - Evolution


Late night, evolve visuals for The Opus Project presents Opus 10 (8pm, Saturday, October 26, San Francisco Community Music Center, 544 Capp Street),


starting with a Bo Derek


crop,


with superimposition and


coloration (sepia-zation, really), in tandem with the 5 skeletons mirroring as ten above,


after


a


blind


evolutionary alley, sending selected images off, with program information --

THE OPUS PROJECT presents

OPUS 10 - 8pm, Saturday, October 26, 2013, Community Music Center, 544 Capp Street, San Francisco, CA

A Multi-Media Event, with Sarita Cannon, Michael Stubblefield, Lo Chau, Melissa Smith, Naomi Stine, and The Opus Project Quartet and Orchestra

Arnold Schoenberg (1874-1951)        String Quartet No. 2, Op. 10, No. 3 (1908)
Bela Bartok (1881-1945)            Image, Op. 10, No. 2 (1910)
Igor Stravinsky (1882-1971)        Petrushka: Russian Dance  (1911)
Anton Webern (1883-1945)            5 Pieces for Orchestra, Op. 10 (1913)
Sergei Prokofiev (1891-1953)        Piano Concerto No. 1, Op. 10: Allegro brioso (1912)
Darius Milhaud (1892-1975)        Poem of Lucile de Chateaubriand, Op. 10 (1913)
Paul Hindemith (1895-1963)        String Quartet No. 2, Op. 10, No. 1 (1918)
Kurt Weill (1900-1950)            Frauentanz, Op. 10, No. 1(1923)
Dmitri Shostakovich (1906-1975)    Symphony No. 1, Op. 10, No. 2: Trio (1925)
Samuel Barber (1910-1981)            James Joyce Song, Op. 10, No. 1(1936)
Benjamin Britten (1913-1976)        Bridge Variation, Op. 10, No. 1 (1937)
Oliver Knussen (b. 1952)            Ocean de Terre, Op. 10, No. 1: Excerpt (1973)
John Bilotta (b. 1948)                The Lottery in Babylon (EC 10) (2000)
Mark Alburger (b. 1957)            Nocturnes for Insomniacs, Op. 10, No. 1 (1978)

-- to John Bilotta.

***


The


day


begins


down


the


freeways to


review of Week 7 material with the Theoreticians, plus the Dictation Scene from Amadeus,


Franz Xaver Gruber's Silent Night in a related spirit, evolving towards Board Harmony, and more imaginative Student Compostions of Round 2.


Immediately thereafter, substitute for Owen in Theory II, in a fast-forward history of 4-part "chorale-style" harmony -- medieval monophony as exemplified by Thomas of Celano's Dies Irae, medieval and renaissance polyphony in Machaut's Mass: I. Kyrie and Josquin's El Grillo, Martin Luther's monophonic A Mighty Fortress Is Our God, J.S. Bach (Cantata No. 80, first and last movements) and Felix Mendelssohn (Symphony No. 5 ["Reformation"])  choralic tropes on same, and Igor Stravinsky's related spin as the Great Chorale in Histoire du Soldat.


Much of the former becomes sight-singing of the day, with the Stravinsky as Dictation / Board Harmony (stretching beyond second-semester theory's usual harmonic bounds)...


Head up


towards the Arts Division for paperwork,


hard upon this,


then


loop


back to the


Music Building,


and home to Harriet for more composition (page 43) re At a Medical Deposition and Psalm 102 -- also noting placement on


 Classical Archives re


The Twelve Fingers and Symphony No. 1 ("It Wasn't Classical...").


In


the


evening,


out


again


under


portentious


celestial


fireworks


a la Zoli's for the monthly


Goat Hall Productions Board Meeting,


and 11th-hour adventures as above. 191st day of summer, high 79.