Thursday, March 7, 2013

Vexation Onomatic Retrofit Ramuntcho



"To play this motif 840 times in succession, it would be advisable to prepare oneself beforehand, in the deepest silence, by serious immobilities."
TAPAS


Arm yourself with clairvoyance


open your head
be visible for a moment


Notice ("POTE")
Suzanne Valadon ~ Sar Peladan

Carrelage phonique
Tapisserie en fer forgeé

W




Lolita Sati Masonic Vexations


 One cannot parody Vexation.


 "We should see to it that the orchestra does not grimace when the characters enter on the stage. Look here: do the trees and scenery grimace? We should make a musical scenery, create a musical climate where personages move and speak - not in couplets, not in leit-motifs: but by the use of a certain atmosphere of Puvis de Chavannes."

Henri Sauguet: Hunnish Negrisme


Vincent of Beauvais
inspects the Speculum Maius
"Beau Naturale"


Are white men bold?
Do white women, yellow, brown, or black women
have the strongest sexual desire?


CLAM LAKE I AM YOUR FAUX_SET
LEKUL LUKEL KELUX


And then Floripas went unto Guy of Bologne


wape echo tee
in these two sheds
sheddus sleds
tongue for jim
and for james


there once again
in confusion
the country of their birth





polychronicon




A carefully crafted 'illogicality' removes all association, expressive or otherwise, from harmonies which, taken individually, are mostly commonplace: familiar chords seem strangely unfamiliar. Stripped of conventional meaning by the context, a series of simple triads becomes a vehicle for spiritual revelation. Important to the concept of Vexations is the relationship between the repetitive form of the piece and the forgettable nature of its material. Vexations lingers in the memory as a vague impression, the details effaced as soon as heard: it is difficult to imagine anyone walking home whistling the 'tune' after a performance. Perhaps it is only because the music is almost literally self-effacing that extended repetition becomes tolerable. Above all, it must not be 'interesting'; it must not draw attention to itself as music, otherwise the listener - or performer - might attempt to discover meaning, expression, thematic development or any of the other qualities which the intellect is accustomed to seek in music.