Text: Kenneth Koch’s “To Various Persons Talked To All At Once.”
Koch B: Rolling, ramshackle waves. (Text starts almost a minute into this recording. Long segment of dreamlike, scene-establishing initial wave sounds.)
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Part of the ||8ve core group performed at the Baltimore Free School’s talent show, at the church at 2640 St. Paul, last night, on Friday, August 27th.
We did versions of “Emperor of Ice-Cream” and a Yeats mash-up with “To A Child Dancing In The Wind” and “Drinking Song.” Due to an unexpected change in lineup, we had to borrow a guitar from the group who went on before us.
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Texts: Edwin Arlington Robinson’s “Richard Cory.” Four different versions.
On the porch in a shotgun shack near a coal mine:
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Saturday, August 21: Villanelle Week
Ryan Wilson’s “For A Girl I Once Loved.” The sound file has some background noise from the meeting in the next room–gives a sense of other people being present.
Richard Hugo’s “The Freaks at Spurgin Road Field”
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Rachel Monroe’s article on Parallel Octave, “All Together Now,” is online today and will be in CityPaper newsstands tomorrow.
If you found our site from the article, welcome. You can send us an email at paralleloctaveATgmail.com, or come to one of our sessions, Saturdays at 2 pm at the Baltimore Free School. We look forward to meeting you, whoever you are.
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Texts: Wallace Stevens’s “Disillusionment of Ten O’Clock” and a poem by Baltimore poet Megan McShea, a section of a work written to live music at last year’s High Zero festival. Texts follow the sound files.
Stevens, short version (less than 30 seconds):
McShea, second-to-last take:
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Saturday, August 7
Texts: Gwendolyn Brooks’s “my dreams, my works, must wait till after hell” and Wallace Steven’s “Ancedote of the Jar.”
[Sound files from this session not yet edited for posting.]
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Text: Ric Royer‘s “the weather not the weather.”
Sound files from this session not yet edited for posting.
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Second week of James Wright’s “At The Executed Murderer’s Grave.”
This is the only take I managed to record this week, but it’s a good one. Four voices, one piano, and the Marantz dramatically cutting out seconds before the end of the poem and the word “underground.” Lots of vocal complexity: decoration, echoing, improvising.
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Visiting ||8ve session in Los Angeles last weekend, with a different group of actors and performers. Text: a selection from Coleridge’s “The Rime of the Ancient Mariner.”
Version 2 (our ultimate take: violin, synth/organ, and alternating male and female choruses on stanzas, more of an attempt to say the Coleridge footnotes):
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||8ve: the parallel octave chorus 