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  John Mills-Cockell | ||||
 | Concerto of Deliverance Some of you may remember two years ago when I announced the project to create a Concerto of Deliverance by John Mills-Cockell. Released on July 4, 2004, the album of the music is finally here! What does it sound like? What might it sound it? What should it sound like? Will it make a difference? Now you can find out for yourself. Information on the album -- its contents, samples, profiles, composer's notes, reviews, etc. -- are available at http://www.starshipaurora.com/concertoofdeliverance.html In the two weeks since July 4, with the announcements and invitations for the Concerto of Deliverance album sent to thousands of people (objectivist or otherwise), there have been diverse responses -- ranging from them just going to the website, sampling the music, and reading the production notes, reviews, etc. -- to accepting the invitation and possibly enjoying the whole journey, "an adventure of discovery, remembrance, and arrival". Many were astounded just by the existence of such an album (arriving after nearly a half century since Rand first described what such music might and ought to sound like). Some of them couldn't believe their eyes and ears, and wanted to wait, or to check for signs of authenticity (and authentication). Others were unhesitant in wanting to satisfy their curiosity and desire for inspiration and encouragement -- and after hearing it, were glad and grateful that they took the leap. This is just the beginning. It's only a matter of time and effort, courage and perseverance, love and thought: for this Concerto of Deliverance is becoming a favorite source of artistic enjoyment and soon, a theme song of objectivists. For those who haven't been to the website yet, you might be in for a surprise, both from the music samples and from the contextual information that, at the least, will provoke contemplation on the cultural significance of the release of this Concerto of Deliverance by John Mills-Cockell. Those who haven't visited recently will find an additional excerpt from the album and more articles posted. There is another review, by Tom Radcliffe, listed with the ones by Carolyn Ray and Eric Nolte; also, an interview of the composer when he was starting out two years ago (a companion to the "Composer's Notes" he wrote after he finished). Still there are the profiles of the contributors (who include a chamber music professor and an artist-in-residence, both at University of Victoria, Canada, and a children's choir), plus other album information -- of particular interest to those wondering about how to "spread objectivism". And, for those who know of him, the references to the commissioner and executive producer of the work should be of interest, as well. More features are planned to be placed on the site. Reviewers of the work have included musicians and philosophers, with diverse responses. For readers on this list, I've appended excerpts from one review (go to the website for the full article). -Monart ======= Concerto of Deliverance, by John Mills-Cockell ...satisfying resolution...an integrated work ...the music moves freely through American spiritual, American Indian, American western, Asian, Spanish, jazz, rock, symphonic, march, Gregorian chant, modern Persian, traditional Chinese, etc. I also enjoy the blurring of the line between what is typically thought of as orchestral/classical/grownup music, and group/rock/kid music. My guess is that your most enthusiastic customers among objectivists will be the under 30 neo objectivist crowd, who are used to and eager for new sounds, different sounds, pretty themes that aren't pretty the way their parents like them... The rhythm changes constantly. Even during the segments where it remains constant, Mills-Cockell varies the way the rhythm is played, or changes the synthesizer registration used to play it. The key changes constantly... My own musical taste inclines toward the extremely complex, which is, I think, what explains my ability to enjoy this brand new piece despite my usual preferences for ancient music... The piece is extremely linear, which is another feature I find endearing. Chords are arpeggiated throughout, so the structure and logic is perhaps less obvious to some people if their preference is for music that is chiefly made up a vertical chords. As might be expected given what I've said so far, I have a strong personal preference for perpetual motion and steady rhythms without percussion. I'm pleasantly surprised by this piece's ability to seduce me despite the fact that it is more like modern music and less like German baroque in this regard. The effect of constant movement is maintained partly by the tensions created by the elements I mentioned earlier, as well as the linear structure. I think it speaks to the universality of the music that Mills-Cockell is able to capture the attention of someone so happily entrenched in the early music tradition... Sometimes Mills-Cockell weaves back and forth between acknowledgment/experience of pain and joy; sometimes the pain hovers in the background, unrecognized or forgotten but still a part of history, while fun and happiness take over. Evil lurks, that's just a fact: But it never wins. Nicely done... -C.R. ------- | |||
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