That’s right, you heard the headline correctly. It’s “New Music Wednesday” here at the LFTI blog!
Thank you! You’re too kind. No, please. Take your seat. Thank you. Thank you.
Okay, are you done celebrating yet?
Now I’m starting to feel as if your overzealous adulation is just patronizing. But if you assure me it’s not…
All right, now lets get to the music! But, if I might, I’d like to elucidate on today’s musical offering in the most pretentious way possible.
Yes, I might.
Today’s selection comes from the “hit” LFTI Short “Appreciation.” The official title is “Los Angeles Variations on Appreciation.” The name of which I have just this second christened it as a purely pretentious irony, noting that the musical theme does not actually vary during the piece.
Please take a second to start the playback, and then read the following critical analysis as intellectual accompaniment to this musical experience:
Los Angeles Variations on Appreciation: A Study.
A lone clave marks time, preamble to a subtly nuanced piece that makes use of traditional as well as non-traditional instruments. The formality of the string instruments and heartiness of the brass contradict the ukulele, vocalized “la-las” and whistling, serving as a commentary on the duplicity of Los Angeles itself.
The steady, relentless repetitive rhythm, bass and heavy horns lay a solid foundation for the more whimsical melody, invoking the monotony of LA city life that underscores the dreamlike flights of fancy of its inhabitants. Pizzicato strings rise to great heights only to do so again – with the same ending note – only four beats later, maintaining an almost cruel equilibrium. All of which is played up even more in the return to the “A” section where the plucked strings are counterpointed by falling trumpets repeating the low brass.
This ebb and flow leads to the dreamlike “B” section with virtually no perceptible build whatsoever. The melody of the chorus floats lightly above the already-established underscore before being awaken by the simple piano montuno from the opening and returning to the more familiar theme of the “A” section.
Copious use of glissando harp evokes the mystical namesakes of Los Angeles as the entire piece deconstructs to its inevitable end.
…And you have probably stopped reading this by now, haven’t you?
I don’t blame you. Did you at least listen to the tune? I hope so. I had a lot of fun working on it.
And thus concludes “New Music Wednesday.” Tune in next time when Spiderman says *mwahm*.
(I apologize for those of you who are foreign fans and did now watch the Electric Company. That last sentence probably made no sense whatsoever.)