{"id":566,"date":"2014-11-09T12:19:29","date_gmt":"2014-11-09T17:19:29","guid":{"rendered":"http:\/\/szsolomon.com\/szswp\/?p=566"},"modified":"2023-01-06T12:44:18","modified_gmt":"2023-01-06T17:44:18","slug":"joseph-pereira-colored-shadows-2002","status":"publish","type":"post","link":"http:\/\/szsolomon.com\/joseph-pereira-colored-shadows-2002\/","title":{"rendered":"Joseph Pereira &#8211; Colored Shadows (2002)"},"content":{"rendered":"<span class=\"medb\"><strong>Joseph Pereira &#8211;\u00a0<em>Colored Shadows<\/em><\/strong>\u00a0(2002)<\/span><br \/>For timpani and electronics<br \/>Live performance, Juilliard School, April 2003<br \/><br \/>In four movements.<br \/><br \/>\r\n\r\n\r\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/BNP1RHSNRTo\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\r\n\r\n\r\n<p>According to Rudolf Steiner, human beings deal with three stages of relationships to the outer world: light, heat and air-sound\/tone. From his lectures on &#8220;The Light Course&#8221; he writes:\u00a0<\/p><br \/>&#8220;We certainly can experience ourselves in the airy element, just as we experience ourselves in the element of heat. In other words, our consciousness effectively descends into the airy element. Just as it enters into the elements of light and heat, our consciousness also enters into the element of air. By entering into the element of air it can in turn come to terms with what happens in the air surrounding us, and this coming to terms is what manifests itself in the phenomenon of sound or tone.&#8221;<br \/><br \/>Steiner continues, &#8220;speeds are external realities on sound while the air has a certain capacity for speed.&#8221; As soon as a sound is set in motion it immediately begins to start its course in time\\space. This is all dependent on some kind of velocity and therefore the dynamics equal the durations of any given pitch. Each sound takes on a form, independent yet effective, which saturate other sounds much like darkness plays into lightness &#8211; for example, under the Goethean view you could say that different shades of purple are the activity of red in blue. The elements of sound consist of a certain loudness, a certain pitch, a certain length, and a certain quality. Musically, I wanted to have the natural innate sounds of the instrument be the material of the piece. The three stages (light, heat and air (sound\\tone) are analogous to the drums attacks, (set in motion) resonance, (lengths) and pitch, (tone) and to the spatialization\\proccessed sounds of the present, future and past. The performer is forced to choose between different durations and speeds of the gestures depending on the natural resonance of the instruments. This eliminates any influence of player techniques or compositional\/rhythmical techniques on the actual form of the piece. Each of the four short movements is a kind of &#8220;temporal dimension&#8221;, never turning back to repeat itself and in continuous development. There is no exposition, development, recap, in the standard sense, thus the past is indistinguishable from the present. Along with the Max processing of these sounds the listener may experience sound, sight, and memory simultaneously in the &#8220;moment&#8221; &#8211; inhibiting differentiated forms of the outer air, living the external physical substance, with no end, no beginning.<br \/><br \/>-Joseph Pereira<br \/><br \/><br \/>Learn more about Joe\u00a0<a href=\"http:\/\/www.laphil.com\/music\/artist_detail.cfm?id=3671\" target=\"_blank\" rel=\"noopener\">here.<\/a><div><\/div>","protected":false},"excerpt":{"rendered":"<p>Joseph Pereira &#8211;\u00a0Colored Shadows\u00a0(2002)For timpani and electronicsLive performance, Juilliard School, April 2003In four movements. According to Rudolf Steiner, human beings deal with three stages of relationships to the outer world: light, heat and air-sound\/tone. From his lectures on &#8220;The Light Course&#8221; he writes:\u00a0&#8220;We certainly can experience ourselves in the airy element, just as we experience [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[11,17],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5qnlH-98","jetpack-related-posts":[{"id":771,"url":"http:\/\/szsolomon.com\/john-cage-child-tree-1975\/","url_meta":{"origin":566,"position":0},"title":"John Cage, Child of Tree (1975)","author":"Samuel Z Solomon","date":"November 11, 2014","format":false,"excerpt":"John Cage,\u00a0Child of Tree\u00a0(1975)Child of Tree is a composed improvisation for plant materials. Cage specifies amplified cactus and pea pod shakers as two of ten \"instruments\" that are to be chosen by the performer. The aleatory is realized on three levels. First by the interpretation of the \"score\": the instructions\u2026","rel":"","context":"In &quot;Note&quot;","block_context":{"text":"Note","link":"http:\/\/szsolomon.com\/category\/note\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1477,"url":"http:\/\/szsolomon.com\/leroy-anderson-the-typewriter\/","url_meta":{"origin":566,"position":1},"title":"Anderson &#8211; The Typewriter","author":"Samuel Z Solomon bts","date":"January 7, 2016","format":false,"excerpt":"The Typewriter \u00a0Leroy Anderson arr. Walter Segelmeier5 percussionists (4 + typewriter soloist)Leroy Anderson (June 29, 1908 \u2013 May 18, 1975) was an American composer of short, light concert pieces, many of which were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as\u2026","rel":"","context":"In &quot;Chamber Music&quot;","block_context":{"text":"Chamber Music","link":"http:\/\/szsolomon.com\/category\/percussion-database\/repertoire-lists\/chamber-music\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":599,"url":"http:\/\/szsolomon.com\/pas-masschap-2008-snare-drum-collection\/","url_meta":{"origin":566,"position":2},"title":"The PAS MassChap 2008 Snare Drum Collection","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"The PAS MassChap 2008 Snare Drum CollectionPublished by\u00a0Bachovich Music Publications,\u00a02008The PAS MassChap 2008 Snare Drum Collection\u00a0was compiled in preparation for the Percussive Arts Society Massachusetts Chapter's 2008 Day Of Percussion. It includes FORTY new etudes for snare drum by forty different composers. Eleven works are by commissioned authors; the remaining\u2026","rel":"","context":"In &quot;Book&quot;","block_context":{"text":"Book","link":"http:\/\/szsolomon.com\/category\/book\/"},"img":{"alt_text":"PASsnare","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2014\/11\/PASsnare.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":601,"url":"http:\/\/szsolomon.com\/masschap-2010-xylophone-collection\/","url_meta":{"origin":566,"position":3},"title":"The MassChap 2010 Xylophone Collection","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"The MassChap 2010 Xylophone CollectionPublished by\u00a0Bachovich Music Publications,\u00a02008The MassChap 2010 Xylophone Collection\u00a0was compiled in preparation for the Percussive Arts Society MassChap 2010 Day Of Percussion. It includes FIFTY new fantastic etudes for xylophone.\u00a0Thirty-two\u00a0works by competition winners join\u00a0eighteen\u00a0works by invited composers, narrowed from over fifty submissions written by percussionists and composers\u2026","rel":"","context":"In &quot;Book&quot;","block_context":{"text":"Book","link":"http:\/\/szsolomon.com\/category\/book\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2014\/11\/PASxylo.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":773,"url":"http:\/\/szsolomon.com\/jacob-druckman-reflections-nature-water-1986\/","url_meta":{"origin":566,"position":4},"title":"Jacob Druckman, Reflections on the Nature of Water (1986)","author":"Samuel Z Solomon","date":"November 11, 2014","format":false,"excerpt":"Jacob Druckman,\u00a0Reflections on the Nature of Water\u00a0(1986)Reflections on the Nature of Water\u00a0is an exploration of water in the abstract. Its six distinctly different movements (I. Crystalline, II. Fleet, III. Tranquil, IV. Gently Swelling, V. Profound and VI. Relentless) consider the physical (the sound, touch, taste, and look of water, ice,\u2026","rel":"","context":"In &quot;Note&quot;","block_context":{"text":"Note","link":"http:\/\/szsolomon.com\/category\/note\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":568,"url":"http:\/\/szsolomon.com\/steven-everett-quiet-silence-1999\/","url_meta":{"origin":566,"position":5},"title":"Steven Everett &#8211; Quiet Silence (1999)","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"Steven Everett -\u00a0Quiet Silence\u00a0(1999)For marimba and four-channel spatializationLive performance, Juilliard School, April 2003 \"While walking the narrow Roman paths above the Italian Mediterranean that connect the ancient towns of the Cinque terra, I was struck by an awareness of extremely slow pulses of time, light and space, each exerting pressure\u2026","rel":"","context":"In &quot;Recording - Solo&quot;","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/566"}],"collection":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/comments?post=566"}],"version-history":[{"count":2,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/566\/revisions"}],"predecessor-version":[{"id":2514,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/566\/revisions\/2514"}],"wp:attachment":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/media?parent=566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/categories?post=566"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/tags?post=566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}