Workout Log 6 August 2012

First thing 20 minutes, dancing with weights:

1. 100 weight reps to Journey to the Line from Hans Zimmer’s soundtrack for Terence Malick’s Thin Red Line. Listen!

2. Freedance to Sweelinck Fantasia as performed by Glenn Gould. Listen!. Proto-running in this one, have to be very careful about impact. There are “fractal” rhythms within rhythms in this piece which Gould compares to Hindemith but which remind me of the slow movement of Beetboven’s Fourth Symphony (Listen!). I believe my landlord saw me dancing to the Sweelinck on my iPod, on the Lamma football pitch last Fall and decided I was weird.

3. Weight reps to Vangelis L’Enfant. Listen!

“Tell Me Nothin'”

The claustrophobic troopship of the Thin Red Line. “How was I to know when I joined this man’s army there was gonna be a fuckin’ war”. “Whaddya want me to tell ya. Da last time da landing was shot up da time before dat it was unopposed.” “Tell me nothing.”

We are in a fix. Only answer compassion? Buddy of mine had prostate twenty years ago no recurrence. The landing in the Thin Red Line was unopposed. Problem was that the Japanese had merely withdrawn inland and fortified a hill forcing C company to assault it.

In Which I Get a Piano

I was walking down Yung Shue Wan high street yesterday thinking of how I could transform anger into the gesture and the dance, having little left to lose, and I saw an ad, a quality practice piano from Yamaha for 1500 HKD so now it’s in my flat. I am practicing two improvisatory proto-New Age compositions I’d composed in 1972: “Sir Haubregon’s Variations on L’Homme Arme”, and “The Dream of the Red King in Alice”. I will post these compositions in a few days once I figure out how to interface the keyboard with my Mac (should be easy).

I will also start improvising new compositions for my dancing and may even create a video of my dances. How nice it is to be able to create original things and not have to worry about intellectual property even if my music is very limited.

Although it IS limited, I was struck in 1982, to hear its overall style performed in the soft moonlight much better by Michael Hedges of New Age piano fame, and, a few years later in Seattle, by Liz Story as here (Listen!), but, of course, my stuff was never as good as theirs.

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