Erika Boysen, Flute Inara Zandmane, Piano Fred D'Aguiar, Poem Wayne Reich, Video Production Julian Ward & Isaac Ward, Audio Capture Nick Rich, Audio Mastering
A moving performance, thank you. Being careful about for what we wish is genuinely important; naturally only as a product - so to speak - of circumstances, we can wish, today for a different beginning of the circumstances, oh so many years ago. But in that changed case we wouldn't be able to wish for this change, know of the wrongness of this reality (its inception or its perception) nor know why the crimes had happened! This in no way justifies slavery systems, genocide or the oppression of whole peoples by force. More germane to the argument, though, is what we are NOW doing in the face of our (my) anchoring off shores, today and how we (I) treat those we (I) encounter. Have we learned anything of worth other than to just wish for a different beginning to/of the course of action we took? My English teacher (Miss Stella 1970) said, "You can't argue with a poem." But the question is really, "Shouldn't you argue with a poem?" I haven't learned the work for flute and piano, yet. Was the poem by Fred D'Aguiar written for the work, the other way around or did their creation take place independently of one another? It seems to me that the music explores much greater regions of expression as does the poem. By reading the poem beforehand influences, negatively, how I experience the music. This is not because I think that the poem is bad - I feel it brings me to reflections of regret instead of expressing the power of hurt and of wish which the music seems to speak to and about. Does this make sense?
Completely wonderful!
Fabulous!!
Wow...just WOW, this is epic!!!
Inara sounds equally amazing!!!
Bravo!!! I especially love you use of unique timbres throughout! Brilliant playing!
I love your ability to change tone colors. Well done!
Powerful performance of this piece. Thank you for sharing.
A moving performance, thank you.
Being careful about for what we wish is genuinely important; naturally only as a product - so to speak - of circumstances, we can wish, today for a different beginning of the circumstances, oh so many years ago. But in that changed case we wouldn't be able to wish for this change, know of the wrongness of this reality (its inception or its perception) nor know why the crimes had happened! This in no way justifies slavery systems, genocide or the oppression of whole peoples by force. More germane to the argument, though, is what we are NOW doing in the face of our (my) anchoring off shores, today and how we (I) treat those we (I) encounter. Have we learned anything of worth other than to just wish for a different beginning to/of the course of action we took? My English teacher (Miss Stella 1970) said, "You can't argue with a poem." But the question is really, "Shouldn't you argue with a poem?"
I haven't learned the work for flute and piano, yet. Was the poem by Fred D'Aguiar written for the work, the other way around or did their creation take place independently of one another? It seems to me that the music explores much greater regions of expression as does the poem. By reading the poem beforehand influences, negatively, how I experience the music. This is not because I think that the poem is bad - I feel it brings me to reflections of regret instead of expressing the power of hurt and of wish which the music seems to speak to and about. Does this make sense?