Spam Roundup June, 2015

There's spam, and then there's spam so oddly written it's somewhat amusing. Here's a roundup of some of the "best" comments I received this month from spambots around the world.

Here's the windup...

- I loved as much as you'll receive carried out right here. The sketch is attractive, your authored material stylish, nonetheless, you command get got an impatience over that you wish be delivering the following unwell unquestionably come further fomerly again as exactly the same nearly a lot often in side case you shield this hike. [I had no idea where this one was going. Hike?!]

- At this time I am going away to do my breakfast, after having my breakfast coming over again to read more news. [Oh, it's all about you, isn't it?]

The subject of the post -- Nomura tin friction
trucks, ca. 1960. Really, guys, not that exciting.

Lumbering Along and Along

What SEO magic keeps attracting spambots to my post, The Straco Layout Part 23 -- Lumbering along ? It really is just a short write-up about a small, vintage Japanese tin friction toy truck. Really. And yet...

- This will make people armless and they will back off. [Calm down. It's just a toy.]

- This is one time your parents won't thoughts you getting dirty! [Perish the thoughts!]

- Annotiviating discussion is worth comment. I believee that you need to publish mor about this subject. it may not be a tavco matter but generally people don't speak ab out these topics. [Tavco -- aren't they a natural gas company?]

Fastidiousness fades....

For the first time ever, I received not a single spam comment that used the word, "fastidious" (or even misused it for that matter). Is it the end of an era? It certainly isn't the end of the spam.

- it's perfect time to make some plans for the future and it is time to be happy. I have read this put up and if I may I desire to counsel you few attention-grabbing issues or tips. [Well, which are they -- issues or tips?]

- whoah this weblog is great. i like studying your articles. STay up the great work! [I promise to stay it up.]

- I'm not that much of a internet reader to be honest but your sites really nice [Not much of a writer, either.]

That's it for this month. Another annotiviating round of comments. Here's hoping all my fake readers stay up the great work!

Diabelli Project 098 - Piano Piece

The Diabelli Project is about offering my weekly flash-composition sketches freely to all. Like Antonio Diabelli's theme these sketches aren't great music. But perhaps (as in Diabelli's case) there's a Beethoven out there who can do great things with them.

This week's flash composition is another little piano piece -- but perhaps not quite as simple as last week's, perhaps. Although the piece has a 6/8 meter, only the right hand is truly in 6/8, with two strong pulses per measure (ONE two three FOUR five six). The left hand is actually in 3/4, with three strong beats per measure (ONE two THREE four FIVE six). It adds a certain amount of tension, I think -- but not too much. (click on image to enlarge)

If this piece were to continue, I'd probably add some additional metric ambiguity to it, so that coming back to this 6/8-3/4 pattern would provide a sense of resolution. But that's just me. As always, this sketch is freely available to any and all who'd like to use it. Just be sure to share the results.

John Knowles Paine, Symphony No. 2 - American Masterwork

John Knowles Paine was one of the first American composers to break onto the international scene. Along with other members of the "Boston Six" (Amy Beach, Arthur Foote, Edward MacDowell, George Chadwick, and Horatio Parker), he well-known in Europe as well as the U.S.

Paine's Symphony No. 2 in a major, op. 34 shows why his music was so well-regarded abroad. Although subtitled "In the Spring," this 1879 work isn't a strictly programmatic work. Instead of painting a detailed picture, or telling a story, the music simply presents impressions of what the movements claim to be about (Awakening of Nature, May-Night Fantasy, etc.)

The work reminds me quite strongly of Mendelssohn and Schumann symphonies. The orchestration is straight-forward like Mendelssohns, while the harmonic progressions owe more to Schumann with their lushness (and seem to echo Stephen Foster in places).

Also included are two shorter orchestral works: The Prelude to "Oedipus Tyrannus" and "Poseidon and Amphitrite." The latter, subtitled "An Ocean Fantasy" evokes the motion of the sea without being obvious about it.

JoAnn Falletta leads the Ulster Orchestra in straightforward no-nonsense performances of these works. Paine's symphony may not be as full-blooded as those of Brahms, but it holds up well by comparison. An important addition to the collection of American repertoire recordings.

John Knowles Paine: Orchestral Works 2
Symphony No. 2 in A major, Op. 34 "In the Spring"; Oedipus Tyrannus, Op. 35, Prelude; Poseidon and Amphitrite - An Ocean Fantasy, Op. 44
Ulster Orchestra; JoAnn Falletta, conductor
Naxos 8.559748

Morton Feldman - Piano, Violin, Viola Cello

Late in his career Morton Feldman became fascinated with the extremes of duration. This 1987 work, Piano, Violin, Viola, Cello comes from that period and clocks in at 75;13. It's not his longest work, the 6-hour 2nd String Quartet holds that honor. But its length does make some demands -- and has some effect -- on the listener (at least this one).

The work is in a single movement, and Bridge presents it on disc with a single track. So the only way to really listen to the work is start at the beginning, and follow through to the end -- just the way Feldman intended.

Texturally, the work is rather thin. Each instrument has a few notes they play, sometimes in conjunction with one or two others. These note clusters come and go in waves that aren't precisely timed, but have an inherent rhythm to them, like very slow breathing.

The music forced me to listen to it on Feldman's terms -- not mine. There are no easily discernible motifs, no recognizable sections or forms. The music simply... is. And once I became comfortable with that concept, I felt I could appreciate it. Like a mobile faintly stirred by a gentle breeze, the music seemed to slowly circle around itself, creating new patterns as different note clusters aligned. Ever changing, yet ever the same.

This music is very slow and very soft -- two of the most demanding aspects of performance. To maintain the focus and control this work requires for over an hour is an amazing feat -- and one that these soloists accomplish. I did have one quibble with the recording -- it seemed a little soft around the edges. But perhaps that was deliberate. The softness of the instrumental sound is in keeping with the ambiguity of the music.

An excellent addition to Bridge Record's survey of Morton Feldman's music.

Morton Feldman, Volume 5: Piano, Violin, Viola, Cello
Aleck Karis, piano; Curtis Macomber, violin; Danielle Farina, viola; Christopher Finckel, cello
Bridge 9446

Lio and the Fourth Wall 10

Mark Tartulli has a long history of playing with he unseen conventions of the comic strip in Lio (see Lio and the Fourth Wall for other examples). The strip from March 23, 2015 certainly qualifies, I think, while also referencing "The Truman Show." (click on image to enlarge)

I don't have a lot to say about this example, save "well done."