Uploaded April 2010 | Updated September 2026, 1 minute ago
"Teatro Comunale", Bologna Italy, October 12, 2007. Recorded at the festival "Angelica - Concerti Contemporanei". (Radio broadcast) Taylor reads two short poems, 'Abata' and 'Before Time'. This was the initial performance at the concert; it was followed by solos from Anthony Braxton, William Parker, and Taylor on piano. The three musicians then returned for a trio performance, which was abruptly cut short when Taylor suddenly left the stage. The transcription is my own.
"Teatro Comunale", Bologna Italy, October 12, 2007. Recorded at the festival "Angelica - Concerti Contemporanei". (Radio broadcast) Taylor reads two short poems, 'Abata' and 'Before Time'. This was the initial performance at the concert; it was followed by solos from Anthony Braxton, William Parker, and Taylor on piano. The three musicians then returned for a trio performance, which was abruptly cut short when Taylor suddenly left the stage. The transcription is my own.




![Priaulx Rainier - Due Canti e Finale (1977)
Priaulx Rainier - Due Canti e Finale, for violin and orchestra (1976 - 1977)
0:00 Presenter introduction
2:07 I: Cantos I
11:20 II: Interlude I
13:37 III:Cantos II
23:13 IV and V: Recitative and Finale
Yehudi Menuhin (violin)
Royal Philharmonic Orchestra
Sir Charles Groves (conductor)
“Priaulx was asked by Yehudi Menuhin to write a violin concerto. She did not answer immediately; having been a violinist, she felt it would be difficult to invent fresh ideas for the instrument. However, she decided to accept, calling the piece ‘Due Canti e Finale’ (Two Songs and Finale) because, as she explained, the violin is essentially a singing voice. The work also differed from a classical concerto in that there were no heavy orchestral sections, the orchestra taking part in a kind of dialogue with the solo violin. Menuhin wrote about the concerto in a ‘Radio Times’ comment:
‘I owe Priaulx Rainier’s delightful Concerto my wife who read that this wonderful composer, though a former violinist, had never written a concerto for the instrument and suggested I should commission one. The result is a fascinating work, beautifully suited to the violin sound’.
At a pre-concert talk Priaulx herself described the work as a dual [sic] between the solo violin with its lyrical and decorative writing, and the orchestra, which is more fragmented and incisive. Although the title suggests a three-movement work, it is in fact in five movements—the three main ones are linked by a whimsical interlude and hushed recitative”.
(From ‘Come and Listen to the Stars Singing: Priaulx Rainier - A Pictorial Biography’ (1988), written by Rainier’s partner June Opie.)
Recording taken from radio broadcast of the world premiere recording on September 8, 1977 at the Edinburgh Festival, performed by the piece’s dedicatee, Yehudi Menuhin, and the Royal Philharmonic Orchestra, conducted by Sir Charles Grove. Priaulx Rainier - Due Canti e Finale (1977)](https://i.ytimg.com/vi/N69wVY47HW0/mqdefault.jpg)


![Chinampas #343 [Cecil Taylor]
The second track from Taylors poetry album, Chinampas. Transcription is my own, and therefore may include a few errors. Chinampas #343 [Cecil Taylor]](https://i.ytimg.com/vi/O3ornWtg8QM/mqdefault.jpg)
![Bill Dixon / Aaron Siegel / Ben Hall - Contrapposto
Bill Dixon - trumpet
Aaron Siegel - percussion, tuned percussion
Ben Hall - percussion, tuned percussion
from Weight/Counterweight (Brokenresearch records, 2009)
[NB: Im sharing one song to give a taste of the album as a whole. Released in a limited, 2 vinyl edition of 500 copies in 2009, as of January 2022, the album is out of print. No copyright infringement is intended, and Ill remove on request.]
Recorded in April of 2008, Weight/Counterweight, the new release by Bill Dixon marks his return to small group playing. The group, assembled by Hall at Dixons suggestion, marks a new direction in Dixons instrumentation with no untreated trumpet whatsoever and a barrage on pitched and unpitched concert percussion creating landmark skeletal architecture which Dixon pushes out from into unmediated solos of gravity and weightlessness. (Press release)
Fanfares from the Abyss
Dixons late style digs deeper than ever. His music, which had always been profoundly introspective, became a subtle criss-crossing of textures and shades for which the analogies with painting reflecting his own visual arts practices are particularly apt: a chiaroscuro type of sound, taking place in a barely-lit interior or an indeterminate nocturnal outside, or the massed forces of blocks of sound made up of intricate and intimate detail that only reveals itself on a second or third listening. The music is invariably slow, almost glacial, though there are bursts of energy that develop slowly, like magma or miasma. Its almost always spacious, giving the quality of silence even when theres no actual silence. A belligerent, almost aggressive pursuit of beauty characterises all his music, which refuses a programme and insists on abstraction. But, as Dixon told the players on Tapestries for Small Orchestra, abstraction is only the core or essence of something once everything else has been stripped away: not absence, emptiness, or vapidity, but a centre, a beacon, a burning flame.
The power of Dixons late works lies as much in his compositions and their realisation by improvising players as in his own playing. Never one to foreground himself as a virtuosic soloist, Dixons approach was collaborative, a contribution to the collective texture of the music, and, in his final recordings, it became starker and more stripped down than at any point. Dixon had been working with electronic modifications to his trumpet principally, reverb and delay effects since the 1970s, as can be heard on tracks from the solo box set Odyssey, but it was in the 1990s that he began to incorporate these as a key part of his style, on recordings like Berlin Abbozzi and his trio with Cecil Taylor and Tony Oxley. Though not all listeners responded well to these effects, Dixon argued that the electronics helped to bring out hidden resonances and added dimensions of the harmonics he favoured: they also worked with a style that had changed as his body aged he concentrated, for instance, far more on lower than higher notes to best advantage, in a shower of breaths, whispers, grunts, sudden blarts and blasts of noise, at once vocalic and machine-like, an aeolian series of gusts, eddies, and other airborne movements and a focused study in extension, decay and the perception of time. With Dixons use of reverb and delay, every sound has its double, nothing dies away straight away: the sounds seem to fight off the effects of time and the weight of mortality and, if only temporarily, to win out a kind of floating, suspended space part purgatory, part paradise in which a process of reckoning and acceptance can be staged.
Weight/Counterweight, recorded with two young percussionists in 2008 and released in a limited vinyl edition with no liner notes and only the barest of information, is the most extended opportunity to hear Dixon as player from his late work. Working in a freely improvised context though Dixon eschewed the division between composition and improvisation, insisting that he wanted even completely improvised recordings to sound as if they might have been composed (and vice versa) Siegel and Hall are heard as much on tuned percussion (gongs, dowels, bowed cymbals, vibraphone, glockenspiel) as on drums, giving the music a floating, meditative quality punctuated by bursts of slowed-down drama, like a quiet, suppressed explosion.
Contrapposto, is the penultimate piece on the album. Whispers from the edge of consciousness, rumours from the sky; fanfares from the abyss, rams horn blasts from beneath the earth.
(http://streamsofexpression.blogspot.com/2022/01/fanfares-from-abyss-bill-dixons-late.html) Bill Dixon / Aaron Siegel / Ben Hall - Contrapposto](https://i.ytimg.com/vi/O9yTqCXAyNk/mqdefault.jpg)

