Buster Keaton, “Our Hospitality” (1923) - Maurice Ravel, String Quartet (1903), Boston String Players String Quartet (2013) @mfaboston Boston, MA, USA -Bravo to the fabulous members of BSP String Quartet!
Come See Our Quartet Rock some Schubert&Ravel to vintage B&W films tomorrow night @mfaboston !!
Boston String Players String Quartet will start this fantastic event entitled, “Soul Mates: Film & Music”, a timeline of the history of music and the moving image featuring Boston-area musicians presenting four short live musical performances all incorporating aspects of film and moving image, with the first movement of the String Quartet No. 14 (1824), also know as Death and the Maiden Quartet, by an Austrian composer Franz Schubert (1797–1828) to the landmark silent film The Great Train Robbery (1904) (Do try playing this fabulous recording by the Borromeo Quartet to the movie!). BSP String quartet will also perform the second movement of the String Quartet by a French composer Maurice Ravel (1903) to a water fall scene from Buster Keaton’s Our Hospitality (1923).
Purchase Tickets
Online: purchase tickets here.
By phone: 1-800-440-6975; Mon–Sat, 9 am–9 pm; and Sun, 9 am–6 pm. In person: visit any MFA ticket desk; desks close 30 minutes before the Museum. Doors open 30 minutes prior to the concert.
Almost 60000 views on @yanntiersen ”J’y suis Jamais Alle” w/ @peterbufano of @Cirkestra from one of @motokimusic favorite films, ”Le Fabuleux Destin d’Amélie Poulain”.
We are looking forward to sharing the stage @mfaboston w/ a fabulous group called Gem Club @iamgemclub this Friday! Don’t miss it!
@TripletLight This looks fantastic! Should we invest in this!?
-Until it all goes digital, a better (and certainly more expensive) way to “put a light” on your music by tripletlight.com
Come hear BSP String Quartet perform next weekend at Soul Mates: Film & Music @MFABoston on Friday, April 12, 7:30pm!
BSP String quartet will perform the second movement of the String Quartet by a French composer Maurice Ravel (1903) to this brilliant water fall scene from Buster Keaton’s Our Hospitality (1923).
Purchase Tickets
Online: purchase tickets here.
By phone: 1-800-440-6975; Mon–Sat, 9 am–9 pm; and Sun, 9 am–6 pm.
In person: visit any MFA ticket desk; desks close 30 minutes before the Museum. Doors open 30 minutes prior to the concert.
Come hear BSP String Quartet perform next weekend at Soul Mates: Film & Music @MFABoston on Friday, April 12, 7:30pm!
Boston String Players String Quartet will start this fantastic event entitled, “Soul Mates: Film & Music”, a timeline of the history of music and the moving image featuring Boston-area musicians presenting four short live musical performances all incorporating aspects of film and moving image, with the first movement of the String Quartet No. 14 (1824), also know as Death and the Maiden Quartet, by an Austrian composer Franz Schubert (1797–1828) to the landmark silent film The Great Train Robbery (1904) (Do try playing this fabulous recording by the Borromeo Quartet to the movie!). BSP String quartet will also perform the second movement of the String Quartet by a French composer Maurice Ravel (1903) to a water fall scene from Buster Keaton’s Our Hospitality (1923).
Purchase Tickets
Online: purchase tickets here.
By phone: 1-800-440-6975; Mon–Sat, 9 am–9 pm; and Sun, 9 am–6 pm.
In person: visit any MFA ticket desk; desks close 30 minutes before the Museum. Doors open 30 minutes prior to the concert.
Björk: “Unravel”, Arranged for Strings and Live Electronics by Chadley
Featuring the interactive video by Christopher Saunders
World Premiere Commissioned by Motoki Tanaka & Boston String Players
*Both the music (Strings and Electronics) and the video were performed live at the concert
Notes from Chadley:
“Rather than using traditional song form, I take influence from electronic production methods of time stretching music; it’s essentially one long verse and a chorus. Using micro-motives from the melody, I gradually develop the tune using extreme repetition that is sewn into organic textures in both my string orchestration and electronic production. Perhaps the melody will only be coherent to those most knowledgeable of Björk ‘s original, but familiar spoken words permeate throughout the piece.”
Topher’s visual art is improvised along to the music live and generated using software he designed in the MaxMSP/Jitter environment. Video clips were made in Processing, and edited in Adobe After Effects.
The original lyrics:
while you are away my heart comes undone slowly unravels
in a ball of yarn the devil collects it with a grin our love in a ball of yarn
so when you come back we’ll have to make new love
“Bach To Björk” 10/19/12 @ Remis Auditorium, Museum of Fine Arts, Boston, Massachusetts, USA
Notes from the choreographer & dancer, Andrea Higgins
Hoping to enrich the audience’s understanding of the Conductor’s role in live performance, the Artistic Director of Boston String Players, Motoki Tanaka, simply asked of me that his gestures be considered as the touchstone for the dance. The technique of conducting, as he explained to me, takes place within a small frame: about the width of the shoulders and spanning the length between the waist and the top of the head. The movement itself is a combination of short vertical and horizontal pulses. With very little variation, these small-scale gestures generate the making of live music, communicating rhythm and nuance to the musicians.
While I have used Motoki’s conducting technique as the source for the dance movement in the three solos that comprise this work, the craft of dance composition calls for these basic movements to be manipulated in a variety of ways. The scale of the movement is expanded and contracted; the shape of the movement is explored from different angles and directions; the pathways of the movement through space take on direct and indirect shape and varying effort qualities that range from light to heavy; finally, the time taken to perform the movement is explored through acceleration and deceleration. While these variations on the theme of conducting keep unison of movement between conductor and dancer to a minimum, it is my hope that the way in which the movement overlaps and intersects will create multiple visual layers of connection.
While the dances take their physicality from the action of conducting, they also explore the space, shape, and expressive power of the musical performance. The First Movement considers the individual’s experience of music today: the limits of physical listening space that are so ingrained 21st Century life versus the inner world and shape that music fills. The Second Movement considers the idea of communication and explores overlapping points of contact that occur between musician and instrument, musician and conductor, and conductor and audience. The Third Movement explores the more timeless and universal way that music connects us to something within and, something beyond. Whatever my thoughts may have been in the creation of this work, ultimately it is my hope that each audience member will find their own interpretation and meaning, based upon both individual and collective life experience. -Andrea Higgins
“Bach To Björk” 10/19/12 @ Remis Auditorium, Museum of Fine Arts, Boston
