This feels like "little timmy" making a mario maker level by putting down random stuff without any care if it is beatable or not, and then his expert dad spends 100 hours trying to upload it.
The most subtly difficult part of the piece is ensuring the delectable aksak rhythms don't turn into a tresillo plus two crotchets. It's rare to hear a performance as rhythmically accurate as this one, and well-articulated at the same time no less!
@@applegarden2448 interesting theory, I always believed this came from the Bartók-Ligeti-Furrer tradition, plus microtonality plus physically impossible piano playing, but nice to hear another perspective
It's fun. If it's improvised after half bottle of whisky. ... I still don't understand, how came, that improvisation is almost forbidden... at least not taken serious, basically only allowed in jazz. I love jazz, but I'd love to play... just what I hear. What I want. What I feel. If I'd write it down, and someone else would play it, people would be amazed. This way they just don't give a shit. Interesting planet... but not for an other incarnation.
There's something incredibly sadistic about writing this kind of music and expecting a pianist to learn how to play it. It is amazing that people exist who are willing to go through it. I'm very glad they do exist, because i really love the result. Serious question though for any knowledgable musicky types out there - does this achieve anything that excellent improvised atonal music with much more 'random' note choices doesn't? Maybe it sounds more mechanistic and structured... but couldn't an improviser improvise mechanistic structured sounding stuff... Surely whatever the clever complicated generative patterns underlying the note choices are, are more or less impossible to actually perceive as a listener? I like improv, I like this, its all super
Your dilemma is natural and legitimate. But let's look at it from the other side: why should a contemporary composer deny himself from creating music that is "equal" in this sense to improvised music? Why should it not be the most tightly composed music? Let's even call it a form of experimentation or exploration of the limits of composition and performance. Cheers :D
This isn’t a dilemma. A good improviser can improvise any style of music, whether tonal or non-tonal. You can ask the exact same question of the moronic post-minimal quasi-tonal pieces that flood contemporary classical programs in the US. When I hear that music I think “why go through the trouble of writing this down”. Xenakis is in a league we won’t see again.
to my ear, i certainly heard repeating patterns and structures that were too complex too describe, but which i could tell were present and when they were present. i improvise quite a lot, but this level of structure is quite difficult to achieve in improv (though not impossible!). i second what other commenters have written: why not write it down?
