Objects of My Affection: Eames RAR Rocker

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The Eames RAR (rocking armchair rod) Rocker is a perfect example of timelessness in design: it could’ve been created in 2009 in a boutique workshop in São Paulo (it wasn’t), or it could’ve been born in a crazy Renaissance-style think-tank/24-hour carnival/cultural epicenter in California for a competition at the MoMA six decades ago (it was). In its natural habitatIt’s equal parts earthy/traditional (maple rockers, small footprint) and modern/industrial (bright-yellow fiberglass shell, steel base). It looks just as good outside on the deck as it does in a hyper-modern office, and looks even better when it’s rocking a newborn baby to sleep.

It’s also incredibly comfortable.

Just ask him.

We got ours about a month ago at Machine Age, which is probably the coolest store on the planet. Some years ago, Herman Miller (the manufacturer) decided to switch to plastic shells (in the name of environmental soundness). Ours, though, is the original fiberglass, and it’s got a wonderful texture.

I hope this stays in our family for generations. I hope our great-grandchildren park their hoverboards to stare at it, wide-eyed, believing that they’ve witnessed something sent back from the future to enthrall them.

Review: Bloom Concert

The Equilibrium Concert Series‘ Bloom concert last week at Alpha Gallery was a great success, and it was an honor to have my music played so beautifully. The Boston Musical Intelligencer apparently agreed! Check out Stefanie Lubkowski’s review, which just went up today.

An excerpt:

Patrick Greene’s Still Life, 1985, an accompaniment to the painting of the same name, was similarly contemplative, but with a bit more contrast to its ebb and flow. The eponymous painting was one of several in which Bloom rendered vases amassed on a draped table with a bold Technicolor palate and an evocative depiction of light glinting off the golden surfaces. This clarinet, viola, and cello trio began with all three instruments in a single note unison passage that soon broke out into short micro melodies energetically led by the clarinetist Kevin Price. As the piece progressed, longer passages of somber melody and harmony emerged, again with the clarinet in the lead and the strings setting the foundation. Eventually, violist Zoe Kemmerling and cellist Christopher Homick took center stage with a beautifully played elegiac melody. The coda then collapsed back into a harmonically reduced and texturally sparse section reminiscent of the introductory passages. This coda however, was less of a denouement and more of a revelation, like the moment when light breaks into a room, revealing what was previously hidden.

The piece will be played again in the same space tomorrow night at 8pm. I unfortunately can’t make that performance, but please come out and support Equilibrium! It really is a wonderful evening of music and art.

I’ll also be posting an audio excerpt from the performance on here shortly, so stay tuned.

Premiere this Thursday: Still Life, 1985

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Kevin Price, Chris Homick, and Zoe Kemmerling rehearse STILL LIFE, 1985.

I just got back from a rehearsal for Still Life, 1985 at the Conservatory, and the players sound wonderful. The premiere is this coming Thursday, May 17 at Alpha Gallery in Boston. There’s another performance the following Thursday (i.e. May 24). I hope to see you there!

The concert, by the way, is part of the Equilibrium Concert Series. Check us out, if you haven’t already!

Here are the program notes, in case you need something to whet your appetite:

Still Life, 1985 is my musical reaction to one of Hyman Bloom’s numerous still-life paintings. The particular painting I chose—“Still life with vases, 1980s”—was born the same year I was, and as such I felt a sort of kinship with it.

Since the painting depicts a static environment, I took my motion cues from strata of visual activity. The first movement, “Bottom,” correlates with the lower-third of Bloom’s work. The bottom of the painting is stark, dark, and littered with the fragments of something spilled. The “bottom” of my music, likewise, is sparse, simple, and ambiguous. The middle (both of the painting and my piece) is the most directly figurative. Where Bloom painted ampules and vases and goblets, I’ve musically inserted a quotation from a traditional Latvian hymn (Latvia being Bloom’s birth-country). The uppermost portion of the painting holds a swirling, dark mass—it’s as mysterious as it is captivating. I’ve tried to replicate that sense of mystery by ending with microtonal elaborations on a unison pitch, sending the music spinning off into the threadbare void.

Upcoming engagements: May and June, 2012

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Looks like the late spring is shaping up to be a busy time! Here’s a look at what’s coming down the pike.

Hope to see you at some of these!

New addition to the family …

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Many thanks to the wonderful Jad Abumrad for giving me a great deal on his barely-ever-used Livid Block Midi Controller. I think this is just the excuse I need to get back into electronic composition (it’s been over a year since I’ve even messed around with it).

PS: If you aren’t already a devoted listener of Jad and co.’s WNYC show Radiolab, you have no idea what you’re missing. A good place to start is right here.

New fish video

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I used to post these videos to YouTube with embarrassing regularity, but I’ve slowed down a bit over the years.

These fish, though, are bona fide divas. They deserve their screen time.

I’ll post much more about my aquaria, rest assured. In the meantime—here’s a taste. :)
Don’t forget to click the resolution button—I’ve uploaded this puppy in HD.
 

5am: A Tableau

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A vaguely pretentious, semi-arranged look into what I’m doing at this ungodly hour.

From left to right: a manuscript from Tortoise and the Hare, my trusty new Samson Meteor Mic (you can expect an “Objects of My Affection” post on this puppy, mark my words), a fascinating Italian orange wine by Angiolino Maule, more from T&tH on my beloved laptop, and my casually askew sitar propped against the wall.

Who’s got time to sleep, anyway?

A short rant on exquisite cars with terrible names

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As the dust of our economic collapse begins to settle, a handful of once-begotten automakers is on the ascent. One of particular note is Ford, which entered 2008 with a decidedly lackluster lineup, slumping sales, and an impossibly complex global manufacturing scheme, and emerged profitable, robust, and unified–all in the absence of the much-bemoaned (and yet undeniably successful) “bail-outs” awarded the other two of the Big Three American car companies.

I start off with Ford not because I’m going to discuss any Ford-branded vehicles, but because the two marques with which I’m concerned—Jaguar and Lincoln—have been Continue reading »

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