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
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.
