Richard Barrett CONSTRUCTION

[Trudge]

Of course, this isn't the first cyclical work RB has written, even if it is the longest. (cf Negatives and Opening of the Mouth.)

CONSTRUCTION is rather different from some of the other cycles so far mentioned - including those by Dillon and Ferneyhough. The longer work isn't only made up of a chain of smaller pieces, one after the other – those smaller pieces are also often laid over one another and heard simultaneously. Sometimes three or four at a time. In Opening of the Mouth some of those smaller works have also chopped up and redistributed. (The same may be true of parts of CONSTRUCTION, I don't know.) It's not a question of A + B + C etc. It's more like planets within a solar system or human beings within a society.

If you hear enough of Barrett's music, you can start to pick out the different pieces from the overall texture. Particularly the ones that you might already know. Hearing all these different, self-contained entities orbit around one another, both unified and separate, is one of the joys of the heliocentric movement, for example, and the source of a lot of its expressive energy.

And it can be equally revelatory to hear some of the smaller units on their own if you first knew them from their place within the larger work. I've had this experience with the flute and percussion duo Inward, which comes from Opening of the Mouth.

[ferneyhoughgeliebte]

CONSTRUCTION is rather different from some of the other cycles so far mentioned - including those by Dillon and Ferneyhough. The longer work isn't only made up of a chain of smaller pieces, one after the other – those smaller pieces are also often laid over one another and heard simultaneously. Sometimes three or four at a time. In Opening of the Mouth some of those smaller works have also chopped up and redistributed.

Yes: it makes following the score of Opening a real blighter!

And it can be equally revelatory to hear some of the smaller units on their own if you first knew them from their place within the larger work. I've had this experience with the flute and percussion duo Inward, which comes from Opening of the Mouth.

For what it's worth, my problem with CONSTRUCTION is that a lot of it sounded on first hearing like an over-long recycling of the magnificent Opening of the Mouth - a work that, the more I hear it, the more convinced I am that it has tremendous significance and power. I have not yet heard CONSTRUCTION enough to hear its individual characteristics. I shall enjoy replaying the broadcast as I'm sure that there are treasures to be discovered and I shall look forward to eating my words on these 'Boards.

Best Wishes.

[Sydney Grew]

. . . a lot that relates closely to 'free jazz' in it . . .

Oh dear - is that really suitable?

[Bryn]

Oh dear - is that really suitable?

Well, I suppose the composed aspect might be seen as detracting from the improvised. To that extent only might the aspect related to 'free jazz' rightly be considered other than suitable.

I feel sure that Eva's spouse will be aware of Mr. Barrett's self proclaimed interest in, and influence by, the music of Anthony Braxton.

[Anna]

Possibly of interest to some, a 20 minute film about CONSTRUCTION with Richard Barrett
http://vimeo.com/35579124

[Roehre]

Possibly of interest to some, a 20 minute film about CONSTRUCTION with Richard Barrett
http://vimeo.com/35579124

Thanks Anna

[austin]

And possibly of interest to some, archive recordings of Cornelius Cardew.....


http://www.ubu.com/sound/cardew.html

[3rd Viennese School]

My works computer wont let me play the video!

3VS

[heliocentric]

now reuploaded here: http://vimeo.com/35698752

[3rd Viennese School]

No, still cant play it!

Strange. I can play the "Composition today" videos!

3VS