Michael Nyman & Motion Trio: Acoustic Accordians (pt. 2)

Acoustic Accordions

Dear Matthew:

This is good shit.

Seriously, I enjoyed this album way more than I thought I would. I mean, I didn’t think I wouldn’t like it, but I didn’t expect to be totally floored by it, either. Where I’m having trouble, though, is quantifying exactly why.

Maybe it’s the Baroqueness. I’m not a hugely informed classical listener, as you know, but Baroque stuff has always been my favourite. Of the ‘rock stars’ of the classical pantheon, Bach has always been the one I’m most into. When I took piano lessons as a kid, my favourite pieces to play were always from List A — the Baroque repertoire. This is even reflected in a lot of the modern acts I’m into — Ratatat and Justice both smack of this stuff, and it’s my favourite feature of their music. I also like a lot of music that is definitely influenced by minimalism — Daft Punk spring immediately to mind, but there are certainly others.

Maybe it’s the playing of Baroque music on instruments other than what I’m used to hearing Baroque music on. An epiphany I’ve had over the course of writing this blog is that one thing I’m really into in music is recontextualization — I love picking out samples, I enjoy clever and unexpected mashups entirely too much, and I have enormous respect for good DJs (there aren’t many). I love music that takes something familiar and twists it in an unexpected way. That’s certainly what’s going on here. It reminds me of what little Wendy Carlos I’ve heard. (Mostly just the A Clockwork Orange soundtrack. But apparently she and Weird Al did an interpretation of Peter and the Wolf, and I now desperately want to hear it.)

But what specifically is it about Baroque music that’s so compelling? Why am I so into it? What is the source of its driving rhythm and energy? What magical switches is it flipping in my brain with its complex, mathy harmonies and incredibly satisfying modulations and resolutions? I’m seriously asking. I’ve heard about Mozart’s brilliance and Beethoven’s intensity and whatever else, but I’ve never gotten a satisfactory answer to a question that I didn’t realize was bothering me so much until I sat down to write this: Why is Bach so damn good?

Also: while listening to the bonus Michael Nyman Band piece from The Cook, the Thief, His Wife & Her Lover I couldn’t shake the mental image of the cartoon characters in Victorian garb trying to be inconspicuous in a funeral procession. I am confident that it improved the listening experience significantly.

— Matt

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