Second Inversion hosts share a favorite selection from their playlist. Tune in during the indicated hours below on Friday, February 3 to hear these pieces. In the meantime, you’ll hear other great new and unusual music from all corners of the classical genre 24/7!
Glenn Kotche: Drumket Quartet No.51; So Percussion (Cantaloupe Music)
A few weeks ago, I decided to take a nice urban hike on a gorgeous, clear, sunny day here in Seattle. I didn’t feel like wasting any of that time in a car driving to a trail head, so I stayed local and used the power of my legs to circumvent Lake Union – a healthy handful of miles. I put my iPhone on shuffle and this piece came on in the mix. To me, it definitely has the tinkling sound of rain – which was no where in sight – but nonetheless set a perfect soundtrack for my walk. I enjoyed this piece so much that I put it on repeat and listened to it 3 times in a row because it’s just that good – Maggie Stapleton
Tune in to Second Inversion in the 11am hour today to hear this piece.
James Taylor: You Can Close Your Eyes (arr. Philip Lawson); The King’s Singers (Signum Classics)
James Taylor offered the world a peak into the gray area of a relationship when he wrote “You Can Close Your Eyes.” The couple is stuck somewhere between a love ballad and a blues song as they remain in love but see the end edging nearer. It’s a tricky tone for one man to negotiate, so how do the six men of The King’s Singers sound in their arrangement of this song? Precise & layered with tight harmonies; it’s like a beautiful song woke up one morning and decided to put on its best crisp suit. – Rachele Hales
Tune in to Second Inversion in the 12pm hour today to hear this piece.
Philip Glass: Piano Étude No. 10; Bruce Levingston, piano (Sono Luminus)
Composed over the course of two decades, Philip Glass’s 20 Piano Études offer a fascinating retrospective of his musical progression—a rare chance to see his style grow and change through one single, controlled variable: the piano étude.
Pianist Bruce Levingston presents one in the exact middle: the dense and relentless No. 10. A friend and frequent collaborator of Glass, Levingston is quite at home amidst the cyclical harmonies and motoric rhythms, his fingers dancing nimbly through a kaleidoscopic soundscape of restless and repetitious motives. Suffice it to say: Glass’s Étude No. 10 is in very good hands. – Maggie Molloy
Tune in to Second Inversion in the 5pm hour today to hear this piece.
Charles Wuorinen: Big Spinoff; Alarm Will Sound
Charles Wuorinen’s Spinoff for violin, bass, and bongos of 1983 was a sort of ode to the harsh music of New York City: imagine if a violinist and bassist were having a chamber music rehearsal, and the sounds of their jamming wafted out the apartment window and mingled with the percussive physical sound of the city. Big Spinoff is essentially a spinoff of Spinoff, with a small chamber orchestra joining the musical fray. We get a lot of short, unison licks that propel the music forward and seem to capture the spirit of a chamber music rehearsal, which for some groups is more chaotic than others. At least Alarm Will Sound seems to be having a good time, and it’s a fun listen as well. I especially love the rapid-fire shifts of loud and soft music, an exciting contrast that is punctuated with toms and pounding piano. – Geoffrey Larson
Tune in to Second Inversion in the 5pm hour today to hear this piece.