The program runs, after a total failure caused by double declarations.
I'd added a panic module, in case the recording of drums was still not happening (using stored files instead). It seems that if you re-declare anything anywhere in Max, at any level, it silently fails. No error output, just sits there smirking. Cure = delete panic module.
The cross-synth with the live drum recording has never been tested[1], so this was the first time it had run. It doesn't quite work, because the conga drums don't have sufficient of the required spectral envelope, and the resultant noise is a bit... well... never mind, at least it actually happens now.
There is much more for me to do during the performance than I'd realised (what with remembering to click on everything that needs starting at particular times, conducting the drummer, and controlling the volume). I've just had a tuna butty, maybe that will help (mode Wooster).
[1] First attempt, missing studio key; second attempt, system b0rked and no sound out.
Tuesday, May 31, 2005
Thursday, May 26, 2005
The Full Monteverdi
Monteverdi - Fourth Book of Madrigals
I'm reluctant to write anything about the details of the performance, because they like to keep it as a surprise. So much so, that... should I be telling you this? oh, I can't resist :) Two of the performers were at my table. I've seen them before, so I nearly choked when another punter asked the sop what she did for a living. She said she delivered organic produce in London... in a little van...! Afterwards she apologised to the woman for telling her fibs.
It begins with Ah dolente partita. Those semitone-apart entries always thrum along your nerves, but in this context it was so powerful that I wasn't the only one crying. The singers get totally involved: the second soprano (one of my favourite singers, beautiful voice and strong actress[1]) was struggling a little in the last piece because she had cried too. Curiously, I didn't feel as convinced by the actors: they had all the moves and expressions, but it wasn't from so deep inside them. I don't know if that was because they have no lines, no words; or perhaps the music gives an emotional power which is more effective than acting. Even the bass, who though a superb singer is a bit wooden in movement, gave an impression of strong feelings held within. Having said that, the actors were good.
From the Festival write-up -
Imagine yourself in a public space, a restaurant maybe. Without warning a woman near you begins a beautiful lament, joined by others. You're caught up in the middle of one of the most unusual and enthralling pieces of music theatre you're ever likely to see. So much more than a concert, you have stumbled into someone else's emotional drama set to Monteverdi's finest unaccompanied vocal miniatures.
"in awe of the performance. A compelling but upsetting piece of theatre. ...brilliant evening." The Times
"Music theatre hardly comes more visceral than this." The Independent
I took a few surreptitious and not-very-good photos before the performance started, and at the end (tried to get one of Robert Hollingworth as well, but he saw me and bounded over to do a luvvy). I'll put them up somewhere tomorrow.
http://www.ifagiolini.com/projectsb.htm
Huge thanks to Robert for getting a ticket for me. They were sold out months ago!
[1] and she managed to hold a decorated line perfectly during a LSSAAW - acted, not real, of course!
I'm reluctant to write anything about the details of the performance, because they like to keep it as a surprise. So much so, that... should I be telling you this? oh, I can't resist :) Two of the performers were at my table. I've seen them before, so I nearly choked when another punter asked the sop what she did for a living. She said she delivered organic produce in London... in a little van...! Afterwards she apologised to the woman for telling her fibs.
It begins with Ah dolente partita. Those semitone-apart entries always thrum along your nerves, but in this context it was so powerful that I wasn't the only one crying. The singers get totally involved: the second soprano (one of my favourite singers, beautiful voice and strong actress[1]) was struggling a little in the last piece because she had cried too. Curiously, I didn't feel as convinced by the actors: they had all the moves and expressions, but it wasn't from so deep inside them. I don't know if that was because they have no lines, no words; or perhaps the music gives an emotional power which is more effective than acting. Even the bass, who though a superb singer is a bit wooden in movement, gave an impression of strong feelings held within. Having said that, the actors were good.
From the Festival write-up -
Imagine yourself in a public space, a restaurant maybe. Without warning a woman near you begins a beautiful lament, joined by others. You're caught up in the middle of one of the most unusual and enthralling pieces of music theatre you're ever likely to see. So much more than a concert, you have stumbled into someone else's emotional drama set to Monteverdi's finest unaccompanied vocal miniatures.
"in awe of the performance. A compelling but upsetting piece of theatre. ...brilliant evening." The Times
"Music theatre hardly comes more visceral than this." The Independent
I took a few surreptitious and not-very-good photos before the performance started, and at the end (tried to get one of Robert Hollingworth as well, but he saw me and bounded over to do a luvvy). I'll put them up somewhere tomorrow.
http://www.ifagiolini.com/projectsb.h
Huge thanks to Robert for getting a ticket for me. They were sold out months ago!
[1] and she managed to hold a decorated line perfectly during a LSSAAW - acted, not real, of course!
Saturday, May 14, 2005
Distant drums
Here I am in the studio, after a heartening chat with Prof John ("never mind, it sounds like enough ideas"), and wishing it would all work by magic. Alex (Fat Cat frequenter) has beautifully soldered two piezo-electric transducers to chopped-up jackplug cables; using them, I have made the Stamping Board. This is to be celebrated, possibly in song later.
MaxMSP is still being unhelpful, but at least it is giving error messages today when it refuses to do things, viz.:
error: couldn't load preferred audiodriver CoreAudio
bonk~ v1.3
It's frighteningly close to the date of the performance.
Someone is practising on the piano next door. I'm not well up in piano sonatas so can only tell you that the piece is romantic period, and it is lovely.
MaxMSP is still being unhelpful, but at least it is giving error messages today when it refuses to do things, viz.:
error: couldn't load preferred audiodriver CoreAudio
bonk~ v1.3
It's frighteningly close to the date of the performance.
Someone is practising on the piano next door. I'm not well up in piano sonatas so can only tell you that the piece is romantic period, and it is lovely.
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