Just finished ‘What Beats Watts’ for Beat Love Oracle. The 13th and largest piece for the idiosynchratic quartet Beat Love Oracle I’ve founded with Ronald, Stijn and Frank last year.
This time I was able to come up with a longer piece: 14 minutes of grooviness combined with a more transparent texture. As opposed to the former pieces, I embedded a non traditional layer: a synthesizer is sparingly used to enhance the implicitness of the harmonic plan.
The piece is definitely influenced by my current reading of ‘Life’, the autobiography of Keith Richards, the guitarist of the Rolling Stones.
My co-players of BLO implored me to try to device more steady grooves in the new pieces I’d conceive. Listening to the Rolling Stones, I discovered a kind of honesty, which until now always has escaped me. The rhythm and blues legacy, which forms the inherent corner stone of their output, needed a rather straightforward kind of drumming, which is marvelously delivered by Charlie Watts, the drummer of the band.
In the book I already discovered a couple of gems, which I really didn’t expect to be there.
Here’s one, which is NOT written by John Cage, although I might seem so:
‘The silence is your canvas, that’s your frame, that what you work on; don’t try to deafen it out.’ ( page 58)
I got it Keith. Thank you very much… 🙂
‘What Beats Watts’ is dedicated to Nadja Delbarre, which endlessly and generously helps us out with the taming of the social media.
Last week we finished the recording of Sonatas 1B, 2 and 9 by the pianist Katerina Konstantourou, Iris De Blaere and Luc Van Loo. All three have already played another one of my sonatas, but we decided to make an album of this set.
On it you will hear the world premiere of the third part of the 9th Sonata ‘terra firma’, which is sadly enough lacking in the integral recording of the first 18 sonatas by Music Centre De Bijloke. To my humble opinion, this third part is one of the nicest, and maybe even best things I ever composed. Moreover, Luc played the whole sonata almost transcendently. I can’t wait to present it to the world.
Katerina recorded for the first time the 1B Sonata ‘Bruna Husky’ which replaces the 1st Sonata of the original set. She too played magnificently: for her, the recording is the actual crowning of a two year long involvement with this sonata. (In my former blog I told you that she played it in Athens quite recently). I hope that Rosa Montero, the author who invented the fictive character ‘Bruna Husky’ will be as pleased as I am.
And finally, Iris De Blaere, my beloved wife and eternal collaborator, recorded the 2nd Sonata ‘Nomen Nudum’, the sonata with which it all started. She wanted to present her own, very personal version, which is characterized by a very close knowledge of the back stories of my output. She’s played hundreds of pages of my music, in all kind of combinations, but barely recorded any of it. It’s almost natural that the 2nd will have a realization by the earth mother behind my oeuvre.