Having painted live at many clubs in the Twin Cities, Carlos embraced the idea with enthusiasm. A search high and low for an app that could do that for Prescott’s audience turned up empty-handed.Ī chance meeting with Carlos Duran in his Bashford Courts studio during last December’s Acker Night sparked the idea that live art could be created with live music in this concert hall. What sealed the decision was finding a Vimeo version with colorful electronic art that moves in real time with the music. Manos considered several different movements of Elliott Cole’s “Postludes” for today’s performance. The interplay of bows and hands tapping, muting, and touching harmonics, weaves an intimate and intricate counterpoint that is as beautiful to watch as it is to hear: fragile, tender and haunting.” Four players, with eight double-bass bows, play interlocking lines on a single vibraphone. “Postludes is a book of eight pieces for a familiar instrument played in a new way. Homero and Fred will be your virtuosos for today’s performance. The piece is also considerably more difficult to play than my earlier ones and requires two virtuosic performers.”. They change frequently and each is usually repeated no more than three times, which is more similar to my more recent work. However, these patterns are more melodically developed than my earlier work. “ Nagoya Marimbas is somewhat similar to some of my earlier pieces, which I wrote in the 1960s and ‘70s, in that there are repeating patterns played on both marimbas, one or more beats out of phase, creating a series of two-part unison canons. Reich wrote these words about “Nagoya Marimbas”: Later, he added acoustic instruments, musical patterns from Indonesian and Hebrew chant, different speech patterns, and more to create his flavor of the “minimalist” style, unique from his colleagues Phillip Glass and John Adams.Ĭomposed in 1994, Mr. First, through electronic music, he began experimenting with new ways of putting music together like “phasing”, which is shifting one melody rhythmically until it is not in sync with the first melody. He wasn’t finding his musical “voice” or form of music that really expressed what and how he wanted to create. Steve Reich (pronounced “Rysch”) came of age in the musical noise of the 1950’s. Now considered a traditional Mexican waltz, the women dance in dresses covered the intricate, festive embroidery, elegant hairstyles, gold jewelery, and headdresses of the Tehauntepec region. “Zandunga” (or “Sandunga”) translates roughly to “gracefulness, elegance, charm, with, and celebration”. In Tehuantepec, the words were transformed into Zapotec and has become the unofficial anthem of that area. “La Zandunga” roared into Mexican culture in the mid 1800’s. The wood that sings with the voice of a woman. Here are some lyrics to this song of devotion to one’s homeland: This yearning melody has been sung by many generations and gains new popularity in Disney’s movie, Coco.įor those of us who haven’t visited the Isthmus of Tehuantepec, imagine a land that is home to 300 species of orchids, agriculture, the petroleum giant, Pemex, and tens of thousands of years of beautiful and turbulent human history. “La Llorona” is a song about a woman who is loved and longed for. These beautiful songs were taught to manos by Homero through the traditional rote style.
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