May 13, 2013 12:43 PM EDT | Logan K. Young (firstname.lastname@example.org)
Asked why they drink alone, Anti-Social Music--that lovably anarchic group of composers, performers and all-around provocateurs--responded pretty much exactly how one would expect:
"We aren't embarrassed about it. It's OK. We've grown. We've moved on. We no longer compulsively check for email, hoping to discover messages from long-lost friends. No, we are going to be fine. We sort through our mail, like anyone else, and pay the bills, call our parents, maybe make a nice dinner. Maybe we'll take a bath and read a book. Maybe take a continuing education class, you know, to get back out there. We're good. Really. We just want to finish up this drink. You go on ahead. No, really, this is the last one."
To wit, here's long-suffering Anti-Social Music cellist Pat Muchmore bariolaging through the second movement of his own composition, Fr.IX.a,b&c.
Not to be outdone, have a listen to saxophonist Jeff Hudgins, err, explain his piece "Its 5:00 Everywhere."
Along the same kind of lines, Gordon Beeferman described his work Burnt Sienna thusly:
"Burnt Sienna was first performed in front a gigantic Robert Motherwell tapestry of the same name in a hideous underground mall in Albany. The tapestry is ironic because it looks like a big brown Abstract-Expressionist Rorschach blot but is in fact painstakingly sewn (no doubt by a bunch of low-paid assistants). So, too, in composing this piece I was dealing with spontaneity vs. meticulousness, broad stroke vs. tiny detail, inspiration vs. perspiration."
Here, then, is Burnt Sienna--expertly wrought by illustrious Douglass Street Music Collective potentate Josh Sinton.
For more information on Anti-Social Music, Douglass Street Music Collective, drinking alone, etc. ad inf., you'd do well to visit: www.spokethehub.org/boycott.
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