The Alan Sondheim Mail Archive

January 19, 2010


some things on the music borne towards and around this performance

(DNA coming up but might as well be everything)

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I play what I cannot play; I play at the limits of what I can play;
I play into those ragged limits; I play within the seduction of
failure.

Every time I play, I play what I play every time, that is, the full
potential of what I can play at those limits. Every time is duplicate
of every other; every time is absolutely unique.

At the edge of failure, the ragged becomes the content - what can't
be controlled, understood, subsumed - what might never come again -
what are permanent limits (and what are limits to be overcome).

If I know how to play this, I will abandon this. If I know how to
structure that, I will leave that behind. My music is a music of
deconstruction, dissimulation. My music is not a music of completion
or virtuosity. My music takes virtuosity to its limit, not through
a flatness of unknowing, but through a landscape that denies
organism itself, forbids entry. I rage at the ragged gates.

The signature and style of my music is this raggedness, which is
mine. You hear the limits of my ability, the limits of my body,
the delineation of these limits. This is a unique aesthetic which
goes nowhere but embraces failure.


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