Peter_Gordon_And_The_Love_Of_Life_Orchestra-Another_Heartbreak-(DFA_2238)-WEB-2010-UMT
- Section
-
MP3/FLAC
- Group
- UMT
- Size
- 49,29 MB
- Files
- 2
- Date
- 2010-04-09
NFO
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▓ ▓ ▓ ▓ ▓ █ █ P R E S E N T S █ █ ▓ ▓█▄ ▓
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▓ ▓ ▓ ▓ ▓ Peter Gordon & The Love Of Life Orchestra-An ▓ ▓ ▓ ▓ ▓
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▓ ▓ ▓ █? █ RELEASE iNFO: █? ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ============= ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▒ ARTiST.....: Peter Gordon & The Love Of Lif▓ ▓ █? ▓ ▓
▓ ██▀▀▀▀▀▀██ ALBUM......: Another Heartbreak ▓ ▓ ▓▀▀█▄ ▓
▓ ▓██ ▓ ▓ ██ GENRE......: Disco ██████████ ▓
▓ ▓ █? ▓ ▓ LABEL......: DFA US ██ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓██ ▓ ▓ ▓ YEAR.......: 2010 ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ██▄▄▄▄▄▄ TRACKS.....: 02 ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ ██ QUALiTY....: 320 kbps / 44,1kHz / Joint-Stereo ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ ▓ RiP DATE...: Apr-08-2010 ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ STORE DATE.: Mar-30-2010 ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▄? URL........: http://tinyurl.com/ya4v6bo ▓ ▓ ▓ ▓ ▓ ▓ ▓
▓ ▓▄█▀▀ ▓ ▓ ▓ SUPPLY.....: TEAM UMT ▓ ▓ ▓█▄ ▓ ▓ ▓
▓ ▓██████████ RiPPER.....: TEAM UMT ▓ ▓ ▓ ▀▀█? ▓
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▓ ▓ █? ▓ ▄█ TRACKLiST: ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▄█ ========== ▓ ▓ ▓ ▓ ▓
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▓ ▓ ▓ ▓ ▓ 01 . Another Heartbreak / Don't Don't 12:32 ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ Redux ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ 02 . That Hat 08:59 ▓ ▓ ▓ ▓ ▓
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▓ ▓▄█ ▓ ▓ PLAYTiME 21:31 min ██ ▓ ▓███
▄█▀? ▓ ▓ SiZE 49,3 MB ▓ ▓ ▓ █?
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▓ ▓ ▓ ▓ ▓ ▒ ▄▀ RELEASENOTES: ▓ ▓ ▓ ▓ ▓
▓ ██▀▀▀▀▀▀██ █ ============= ██▀▀▀▀▀▀█
▓ ▓██ ▓ ▓ ███ ▀ ██? ▓ ███
▓ ▓ █? ▓ ▓ THE EVOLUTION OF PETER GORDON'S MUSIC: An ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Eyewitness Account ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ I have known Peter Gordon since 1972, when ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ we were both graduate students at the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Music Department of the University of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ California at San Diego, which at the time ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ was a futuristic foundation-endowed ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ think-tank of new musical research. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Through the 1980s and into the '90s I ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ performed in his ensemble and spent many ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ hundreds of hours in recording studios ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ with him, so I had a unique point of view ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ from which to watch his music develop. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Mr. Gordon's music has been categorized ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ both by its peripatetic, eclectic ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ curiosity and by its rootedness in ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ European compositional tradition. Since ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ he is a polymath and not a one-note ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ artist, it is difficult to summarize his ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ work and any short account must leave out ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ much. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ When I met Mr. Gordon it was the era of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ revolution against atonal serialism -- an ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ insular, dry style which did much to ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ alienate the public from "serious" music ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ and which was all but mandatory for ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ university composers of the day (and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ which, for all I know, may still prevail ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ in the universities where it was most ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ vigorously promoted). Young composers, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ taking their cue from La Monte Young, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Terry Riley and others, were using simple ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ tonal materials -- sometimes as a drone, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ sometimes with a palpable pulse -- to ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ create a new kind of art music, one that ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ used amplification (sometimes, though not ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ always, at high levels) and borrowed from ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Asian, Indian, and (often uncredited) ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ African music traditions. This new ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ movement came to be badly named ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ "minimalism." ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Unlike many of the composers of our ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ generation who were touched by this ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ emerging style, Mr. Gordon was a competent ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ working musician who could pay his rent ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ playing in popular bands. He was already ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ a sophisticate, having studied the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ mechanics of film composition at USC, jazz ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ at Berklee School of Music, and electronic ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ music at San Diego and subsequently Mills ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ College. Having lived as a teenager in ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Germany and in Los Angeles, he ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ comprehended both European intellectual ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ trends and American pop culture. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ After leaving UCSD he moved to San ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Francisco and subsequently New York, where ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ in the mid-70s he became one of the prime ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ movers of a new style that fused ambitious ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ compositional principles with popular ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ instrumentation --though, speaking as an ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ expert witness, I believe his contribution ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ has been underestimated by the few ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ historians who have written about the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ topic. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ His Love of Life Orchestra (better known ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ as LOLO), with its soap-opera name ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ suggesting an embrace of the trashy, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ played lean, rigorous, instrumental ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ miniatures whose timbre dispensed with the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ high seriousness that plagued new music of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the day. Though experimental in outlook, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ it evoked the fun of early '60s r&b and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ rock combos like King Curtis's Kingpins or ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the Ventures, as well as the thumping ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ timbral palette of the then-popular ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ orchestral disco records. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ A chronic early adopter of technologies, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Mr. Gordon was repeatedly the first ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composer on the scene to comprehend the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ possibilities of each subsequent wave of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ mechanization and cybernetization of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ music. Unlike many others who used ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ automation as a substitute for engaging ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ directly with musical content, resulting ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ in a dumbing-down of the resultant music ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ and an anonymity of sound, Mr. Gordon's ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ music seized on the possibilities such ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ instruments afforded to make a music which ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ bore his seal. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Incorporating synthesizers, rhythm ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ machines and samplers into his music as ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ they became available, he also continued ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ to compose for acoustic instruments. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Beginning in the mid-70s as we gained ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ access to multi-track recording studios, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ he developed an original and influential ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ style of composition directly for tape. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Prior to that era, "tape music" had been ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ electronic or concrΘte, or had been the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ elaborated product of a pop band. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Mr. Gordon's method was somewhat similar ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ to that of working pop producers -- he ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ often cited his admiration for Brian ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Wilson's music -- and had elements in ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ common with the work being done by the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ musically radical composers of the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ generation preceding ours, e.g., Robert ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Ashley and David Behrman. But his tape ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ scores created an original kind of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ continuum between the composed and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ improvised, and between the acoustic and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the virtual, one that gave performers a ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ broad scope to create their own sound and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ their own parts while hewing to a ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ carefully thought-out composition, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ creating layers of interlocking musical ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ signatures to which another level of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composition was added at the mix stage. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ In the '80s, he received a number of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ commissions for large-scale scores, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ thereby embarking on a career of stage ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composition which he would continue to ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ develop to the present day. Always ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ prolific, he was never more so than during ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ this period, turning out numerous pieces ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ for dance, theater, film and video, while ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ also producing records (which, in the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ interests of brevity, I will not discuss ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ in this letter, except to note that two of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ them, Innocent and Brooklyn, were ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ released on, and of course mis-marketed ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ by, CBS Masterworks). ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ In particular, four of Mr. Gordon's stage ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ works from this period stand out. Two of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ them were tape scores -- Otello, for the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Neapolitan theater company Falso ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Movimento, and The Birth of the Poet for ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Richard Foreman. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Otello featured more than an hour of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ continuous music and had no spoken text. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ The score, which used motifs from Verdi's ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ opera as generative cells, largely ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ determined the pacing and intensely ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ dramatic gestures of the mostly ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ choreographic stage action. The music was ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ collectively invented by Mr. Gordon and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the performers in the studio and finalized ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ in Mr. Gordon's mix, which itself was ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ always a compositional process. The score ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ won the Village Voice's Obie Award for ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ 1985, and Falso Movimento toured worldwide ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ with the piece for several years. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ The Birth of the Poet, presented at the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Brooklyn Academy of Music in 1985, was ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ much maligned by critics for its libretto ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ by Kathy Acker and its theatrical ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ realization. But the score, in three ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ acts, was complex and spectacular -- ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ particularly the first act, which, with ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the late Julius Eastman's virtuosic ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ performance of a difficult vocal part ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ using a German-modernist 12-tone row, made ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ample use of one of Mr. Gordon's greatest ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ compositional assets: a quick, dry wit ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ undetectable by the humor-challenged. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Mr. Gordon's biggest popular success as a ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ theater composer was probably the live- ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ orchestra score for Secret Pastures, an ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ all-star collaboration at Brooklyn Academy ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ of Music (subsequently performed in Milan) ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ with choreographers Bill T. Jones / Arnie ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Zane, artist Keith Haring and the designer ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Willi Smith, which won Dance Theater ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Workshop's Bessie Award in 1985. But his ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ most important extended composition of the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ '80s was Return of the Native, a ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ collaboration with the video artist Kit ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Fitzgerald, to whom Mr. Gordon got married ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ while they were in the process of creating ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the piece. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Taking as song text the chapter titles of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Thomas Hardy's novel, Return of the Native ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ brought a new level of lyricism into Mr. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Gordon's music. It was, I believe, the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ first fusion of live orchestra and live ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ video projection. The tight collaboration ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ between the two principal artists made for ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ a high degree of unity between sound and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ image. The images included footage shot ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ on location in Ireland and live-camera ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ feeds of the musicians as they played, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ subjected to real-time mixing and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ manipulation by Fitzgerald. Premiered at ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the Brooklyn Academy of Music in 1988, the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ work was subsequently performed in its ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ entirety in Rio de Janeiro in 1989 and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Amsterdam in 1990 -- still under the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ rubric of LOLO, which in this incarnation ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ had evolved from a rock trio to a 15-piece ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ chamber orchestra. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ In the 90s Mr. Gordon left New York to ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ become a professor at the College of Santa ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Fe, where he and Kit Fitzgerald raised ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ their son Max. Isolated in the mountains ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ of New Mexico, Santa Fe has a long history ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ of being a sort of chrysalis for mid- ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ career composers -- most notably Edgard ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ VarΘse, who spent several ostensibly quiet ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ years there prior to premiering DΘserts in ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ 1954. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Mr. Gordon was anything but quiet during ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ his years in Santa Fe. In the absence of ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ any kind of professional structure for ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composers in the United States, with ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ steadily decreased funding for any but the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ most commercialized of artistic ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ activities, it is a remarkable ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ accomplishment that he has continued to ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ turn out at least one major stage work ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ every year for a variety of collaborators. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ In this latest phase he has been ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composing works that more closely resemble ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ the conventional definition of opera, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ completing a metamorphosis from being an ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ almost purely instrumental composer in the ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ '70s to being a dramatic singer's ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ composer. This new direction was clearly ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ evident in The Strange Life of Ivan Osokin ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ (1994), which was followed by other sung ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ stage works, most impressively The Society ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Architect Ponders the Golden Gate Bridge, ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ a collaboration with artist Lawrence ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Weiner, performed in 2000 in Berlin and ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Bonn, and in Paul Zimet's Bitterroot (at ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ LaMama, 2001), a musical which re-imagined ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ Lewis and Clark's expedition as enacted by ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ a group of 19th-century players. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ And now it's the end of 2001. I have no ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ idea what he will do next. Maybe he ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ doesn't either. It's not so easy to know ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ what to do right now. But one of my ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ favorite things about Peter Gordon's music ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ has always been that I can never predict ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ what turn it will take. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ I predict he will surprise me. ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ http://www.petergordon.com ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ http://www.myspace.com/pglolo ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ ▓ ▓ ▓ █?
▓ ▓ █? ▓ ▓ If You Like It Buy It ▓ ▓ ▓ █?
▓ ▓ ▓██ ▓ ▓ ▓ ▓ ▓ ▓ ▓██ ▓
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▓ ▓ ▓ ▓ ▓ ▓ ██ GROUPNOTES: ▀▄ █? ▓▓▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ ▓ =========== █ ▓ ▓ ▓ ▓ █?
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▓ ▓▄█▀▀ ▓ ▓ ▓ UNDERGROUND MUSiC TERRORISTz ▓ ▓ ▓ ▀▀█▄
▓ ▓██████████ MOTiVATED/EXPERiENCED MP3/MDVDR RiPPER ██████████
▓ ▓ ▓ ▓ ▓ ▓██ █? ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ ▓ TERRORISTz WiN ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▓ SEARCHiNG NiCE AFFILSiTE OUTSiDE EU ▓ ▓ ▓ ▓ ▓
▓ ▓ ▓ ▓ ▓ ▀▀██▀▀▀ ▀ ▓ ▓█▄ ▓ ▓ ▓
▄? ▓ ▓▄█ █ GREETS FLY OUT TO: ▓ ▓ ▓ ▀▀█? ▓
▄▀▄█▄?▄▀▄█▄▄ █ ================== █████████? ▓
▀█▀? ▓▀█▀▀ █ QcK & phunck █? ▓ ▓ ▓ ▓ ▓
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▄██? ▓ █▀▄▄█████▄ ▀ ▀▀▀██▀▀ ▓ ▓ ▓ ▒ ▓
█▀ ▀█?▄█▀▀?█ █ CONTACT: █ ▓ ▄█████▄
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▀▄▄▀▀ ▓█▄ ▄▄█▀ ██▀ umt@hush.ai █ █ ▓ ▓ ▄███
▓ ▓ ▓? ▓ ▓ ▓ ▓ ▀██▀
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Files
| Path | Size |
|---|
| 01-peter_gordon_and_the_love_of_life_orchestra-another_heartbreak_-_do | 28,72 MB |
| 02-peter_gordon_and_the_love_of_life_orchestra-that_hat-umt.mp3 | 20,57 MB |