{"id":26092,"date":"2022-09-10T11:30:43","date_gmt":"2022-09-10T09:30:43","guid":{"rendered":"https:\/\/blogs.nmz.de\/badblog\/?p=26092"},"modified":"2022-09-10T11:30:43","modified_gmt":"2022-09-10T09:30:43","slug":"55-years-of-good-vibrations-and-now-smile-part-two","status":"publish","type":"post","link":"https:\/\/blogs.nmz.de\/badblog\/2022\/09\/10\/55-years-of-good-vibrations-and-now-smile-part-two\/","title":{"rendered":"55 Years of Good Vibrations \u2013 and now SMiLE! (Part Two)"},"content":{"rendered":"<p><strong>55 Years of Good Vibrations \u2013 and now <em>SMiLE<\/em>!<\/strong><\/p>\n<p>A journal entry from Jobst Liebrecht<\/p>\n<p>(Part Two)<\/p>\n<p>Brian Wilson\u2019s <em>SMiLE<\/em> symphony opens with an <em>a cappella<\/em> choral movement called <strong>\u201cOur Prayer.\u201d<\/strong> The track evokes a religious church choir in the key of E-flat Dorian, but with a witty subtext, as the flawless vocal harmonies within this quiet hymn immediately call to mind the \u201cbrand essence\u201d of the classic Beach Boys sound\u2014 all in all a surprise right off the bat:<\/p>\n<p>&nbsp;<\/p>\n<div class=\"video-container\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/tqXibjCZy5Y?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=de-DE&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>&nbsp;<\/p>\n<p>Every parameter of this brief minute of music is reduced to its essential. The ensemble sings without lyrics. The shaping of the voices is subtly modulated\u2014at first one might be reminded more of Stockhausen\u2019s <em>Stimmung<\/em> (1968) than of a California pop band.<\/p>\n<p><em>With the reception of SMiLE, certain aspects that we might think of as American were repeatedly emphasized. And it is true, America is indeed a historically religious country. Even the agnostic Charles Ives began his fourth symphony with the chorus \u201cWatchman, tell us of the night.\u201d Religious hymns in America constitute the earliest trove of musical experience, the basis for making music together. For Wilson and the Beach Boys, the entirety of their music-making came directly from such collective singing.<\/em><\/p>\n<p>Looking in the classical literature for a comparable opening to a musical work, the hymn-like choral of high strings in the Prelude to Verdi\u2019s <em>La Traviata<\/em> comes to mind.<\/p>\n<p>Here in \u201cOur Prayer,\u201d however, basic music <strong>material<\/strong> is set out very precisely\u2014for what pop connoisseurs like to call Brian Wilson\u2019s \u201cmodular writing\u201d or \u201cmosaic\u201d structure of <em>SMiLE<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24058\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-1\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-1.jpg?fit=532%2C313&amp;ssl=1\" data-orig-size=\"532,313\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-1.jpg?fit=532%2C313&amp;ssl=1\" class=\"alignnone size-full wp-image-24058\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-1.jpg?resize=532%2C313&#038;ssl=1\" alt=\"\" width=\"532\" height=\"313\" \/><\/p>\n<p>In the three main pieces that establish the architecture for the entire development of <em>SMiLE<\/em>\u2014beginning with \u201cHeroes and Villains,\u201d then \u201cSurf\u2019s Up\u201d in the middle, and finally \u201cGood Vibrations\u201d as the finale\u2014the elaborated motif of <strong>the fourth<\/strong> descending from the root to the dominant in Dorian E flat at the beginning of \u201cOur Prayer\u201d comprises the backbone upon which the melodies are built.\u00a0 The initial spark, in my opinion, was <strong>\u201cGood Vibrations.\u201d<\/strong> It predates <em>SMiLE<\/em> and was originally intended to be part of the <em>Pet Sounds<\/em> album. Wilson\u2019s two main themes (which will be accompanied by sub-themes) can be stated simply as:<\/p>\n<ol>\n<li>The famous riff in the chorus (Wilson himself calls it the \u201chook\u201d)<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24057\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?fit=846%2C276&amp;ssl=1\" data-orig-size=\"846,276\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 2\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?fit=846%2C276&amp;ssl=1\" class=\"alignnone size-medium wp-image-24057\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?resize=600%2C196&#038;ssl=1\" alt=\"\" width=\"600\" height=\"196\" srcset=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?resize=600%2C196&amp;ssl=1 600w, https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?resize=768%2C251&amp;ssl=1 768w, https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-2.jpg?w=846&amp;ssl=1 846w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>and b ) the beginning of the song with the verse:<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24056\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-3.jpg?fit=454%2C94&amp;ssl=1\" data-orig-size=\"454,94\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 3\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-3.jpg?fit=454%2C94&amp;ssl=1\" class=\"alignnone size-full wp-image-24056\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-3.jpg?resize=454%2C94&#038;ssl=1\" alt=\"\" width=\"454\" height=\"94\" \/><\/p>\n<p>If you sing the first three notes and then the last note of the \u201cGood Vibration\u201d chorus, you will hear (in G-flat) this very same elaborated descending fourth from \u201cOur Prayer,\u201d the beginning of <em>SMiLE<\/em>! And at the beginning of \u201cGood Vibrations,\u201d the verse is not only in the same key of E-flat minor, but is likewise based on this fourth motif! Now, if you sing the second bar of the verse from \u201cGood Vibrations\u201d backwards, you have the form of the refrain of <strong>\u201cHeroes and Villains,\u201d<\/strong> which is also in E-flat minor, even though the track actually starts in C-sharp major!<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24055\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?fit=901%2C336&amp;ssl=1\" data-orig-size=\"901,336\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 4\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?fit=901%2C336&amp;ssl=1\" class=\"alignnone size-medium wp-image-24055\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?resize=600%2C224&#038;ssl=1\" alt=\"\" width=\"600\" height=\"224\" srcset=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?resize=600%2C224&amp;ssl=1 600w, https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?resize=768%2C286&amp;ssl=1 768w, https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-4.jpg?w=901&amp;ssl=1 901w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>This is extremely interesting and fuels my suspicion that Wilson was proceeding according to a plan when he then once more simplified the \u201cHeroes and Villains\u201d refrain into a variant <em>(see fig. at right)<\/em> in which only the central E-flat appears together with its leading tone and the dominant. This simplified variant is then incorporated into other songs in <em>SMiLE<\/em>\u2014voiced, for example, by a harpsichord-like keyboard\u2014or used as a transition phrase.<\/p>\n<p><em>In many of these built-in transitions and motifs that mechanically revolve around a few notes, SMiLE sometimes almost sounds like an anticipation of Steve Reich\u2019s tonal language.<\/em><\/p>\n<p>The fourth also plays a major role in the 7th track, <strong>\u201cSurf\u2019s Up,\u201d<\/strong> the heart of the entire work.<\/p>\n<p><em>Brian Wilson had the honor of recording this song solo on piano for a television special hosted by Leonard Bernstein in 1966, which fortunately has survived as a wonderful historical document:<\/em><\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=qbswOqC4cVU\">https:\/\/www.youtube.com\/watch?v=qbswOqC4cVU<\/a><\/p>\n<p>(note: the video is currently disabled on youtube)<\/p>\n<p>&nbsp;<\/p>\n<div class=\"video-container\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/qbswOqC4cVU?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=de-DE&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>&nbsp;<\/p>\n<p>In \u201e <strong>Surf\u00b4s Up<\/strong>\u201c beginnt im Refrain die melodische Erfindung so:<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24054\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-5\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-5.jpg?fit=454%2C84&amp;ssl=1\" data-orig-size=\"454,84\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 5\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-5.jpg?fit=454%2C84&amp;ssl=1\" class=\"alignnone size-full wp-image-24054\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-5.jpg?resize=454%2C84&#038;ssl=1\" alt=\"\" width=\"454\" height=\"84\" \/><\/p>\n<p>The fourth again, albeit in an entirely different light from the minor third, the root and underlying seventh filled in by F minor\u2014and followed by another series of leaps in fourths.<\/p>\n<p>Given how the melodies of the three central songs of <em>SMiLE<\/em> relate to the musical material and to each other, the entire work can be woven together out of the elements of the individual songs. Wilson, as anyone hearing <em>SMiLE<\/em> for the first time immediately recognizes, quotes these melodies in varying form again and again in the course of the piece. You can describe it as \u201cmodular writing,\u201d but in practice it was more a matter of Wilson recording these melodies again and again in various forms\u2014he typically called them \u201cfeels.\u201d The new studio technology gave him the opportunity to blend and interweave these fragments \u2014absolute pioneering work using just a few tracks, everything done by hand.<\/p>\n<p><em>\u201cJesus, that ear. He should donate it to the Smithsonian. The records I used to listen to and still love, you can\u2019t make a record that sounds that way. Brian Wilson, he made all his records with four tracks, but you couldn\u2019t make his records if you had a hundred tracks today.\u201d (Bob Dylan)<\/em><\/p>\n<p>For the symphonic conceptualization of <em>SMiLE<\/em>, this reduction of the melodies to their basic form is of the utmost importance.\u00a0 When compared to the Beatles, for example, these distilled melodies suffused throughout the entire work can sometimes appear simplistic or even impoverished. Not that Wilson couldn\u2019t have done otherwise! He had, after all, just released <strong><em>Pet Sounds<\/em><\/strong>, his masterpiece of melodies and musical timbres in all their variety. In <em>SMiLE<\/em>, however, he was concerned philosophically, I would say, with a depiction of something more \u201cprimal,\u201d of a nexus or continuity in the world; during production, the tabloids were already referring to Brian Wilson\u2019s \u00a0\u201creligious turning point,\u201d which in its speculative aspects reminds me just a bit of Charles Ives.<\/p>\n<p>With <strong>\u201cChild Is Father of the Man,\u201d<\/strong> Wilson and Van Dyke Parks quote a line from William Wordsworth\u2019s poem <strong>\u201cThe Rainbow\u201d<\/strong> in the title. The experimental material and language exploration of such and other numbers emerges most clearly in an approximately eight-minute <strong>montage<\/strong> <strong>compilation<\/strong> that contains only the Beach Boys\u2019 background vocals for <em>SMiLE<\/em> and offers a listening pleasure of its own:<\/p>\n<p>&nbsp;<\/p>\n<div class=\"video-container\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/us-HaAZ42Uw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=de-DE&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>&nbsp;<\/p>\n<p>Perhaps the best way to approach the artistic quality of <em>SMiLE<\/em> is to acknowledge that:\u00a0 NOTHING HERE IS AS IT IS OR PRETENDS TO BE.\u00a0 Ambiguity and continual metamorphosis are the rule.<\/p>\n<p>The opening chorus of <strong>\u201cOur Prayer\u201d<\/strong> begins devoutly enough, but then leads <em>attacca<\/em> into the utterly mundane opening nonsense syllables of <strong>\u201cGee.\u201d<\/strong><\/p>\n<p><strong>\u201cHeroes and Villains\u201d<\/strong> revolves around the development of two musical ideas that take turns stepping on each other\u2019s lines, so to speak, like performers in a vaudeville routine, only to suddenly and unexpectedly blossom out near the end (4:17) in a completely crazy variety orchestra sound\u2014a passage that, as a \u201cbreakthrough,\u201d to briefly reference Adorno, can hold its own with Mahler.<\/p>\n<p><strong>\u201cDo You Like Worms? (Roll Plymouth Rock)\u201d<\/strong> begins with a stereotypical American blues vamp in F that couldn\u2019t sound more boring, but into which the \u201cHeroes and Villains\u201d refrain is then suddenly dropped again and again before the sudden cut, at 2:34, to a spaced-out Hawaiianesque hymn of meditation.<\/p>\n<p>And so it goes in all of the tracks. I could give endless examples.<\/p>\n<p>In this ambiguity lies the great emotional contrast that is emphasized in <em>SMiLE<\/em>. Although based on exceedingly fervent, solidly constructed melodies that, as Wilson himself noted, were always meant to bring love to the people, <em>SMiLE<\/em> incorporates an unimaginable richness and disparity of musical sounds throughout the work that in an almost Grand Guignol style repeatedly flare up and speak to us, along with <em>joie de vivre<\/em> and youthful ardor, of great turmoil, compulsion, fear and hardship. This happens mainly in the transitional episodes. Here we can admire, for example:<\/p>\n<p>In track 6, <strong>\u201cBarnyard,\u201d<\/strong> sheep and other animals bleat in the background, under the singers. In no. 13, <strong>\u201cI Wanna be Around \/ Workshop,\u201d<\/strong> the entire ensemble hammers, taps, and saws. The crudit\u00e9s-gnashing on track 14, <strong>\u201cVegetables\u201d<\/strong> (the natural food movement was just beginning at the time), I already mentioned in part one of this article. The most unsettling acoustic agglomeration is the collage of sounds and noises on track 17, <strong>\u201cThe Elements: Fire (Mrs. O\u2019Leary\u2019s Cow),\u201d<\/strong> for which Wilson had the entire ensemble don fireman\u2019s helmets.<\/p>\n<p>&nbsp;<\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"24053\" data-permalink=\"https:\/\/blogs.nmz.de\/badblog\/2021\/03\/29\/55-jahre-good-vibrations-und-jetzt-smile-teil-2\/wilson-6\/\" data-orig-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-6.jpg?fit=377%2C283&amp;ssl=1\" data-orig-size=\"377,283\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wilson 6\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-6.jpg?fit=377%2C283&amp;ssl=1\" class=\"alignnone size-full wp-image-24053\" src=\"https:\/\/i0.wp.com\/blogs.nmz.de\/badblog\/files\/2021\/03\/wilson-6.jpg?resize=377%2C283&#038;ssl=1\" alt=\"\" width=\"377\" height=\"283\" \/><\/p>\n<p>It is this very amalgam of carefully arranged and structured elementary melodic material\u2014strictly tonal, like all pop music\u2014and also wildly anarchistic raw sounds that I personally still find so appealing and apt, even today, when, as a composer I seek to engage the listener.<\/p>\n<p>For me, to disregard or even renounce the melodic in music is simply unimaginable. With a melody\u2014though perhaps not as ingenious as one by Franz Schubert or Brian Wilson or the Beatles\u2014I have a melodic structure upon which to base the architecture of a work.<\/p>\n<p>Yet at the same time, the modern concept of music has set \u201cnoise\u201d free.\u00a0 Every new music performer and listener today knows just how fascinating these unusual \u201cnon-musical\u201d sounds can be. The adventures of Partch, Cardew, Cage, Var\u00e9se\u2014they also were there in the pop music of the 1960s. And perhaps in a more childishly naive, playful way, which I happen to find very approachable.<\/p>\n<p>Finally it is delightful to think that at about the same time as Helmut Lachenmann in the cello cadenza of his <em>Notturno (Musik f&#252;r Julia)<\/em> was venturing out into his world of <em>musique concr\u00e9te instrumentale<\/em>, two cellists in a studio in southern California were madly sawing away at their instruments to produce the rough and wild bass triplets under the siren melody in the final chorus of \u201cGood Vibrations.\u201d \u00a0And to think, we all thought it was just synthesizers as we danced to it as teenagers with the feeling that we were about to blast off into space!<\/p>\n<p><em>(Jobst Liebrecht, February 2021)<\/em><\/p>\n<p><em>Translated by Kevin Pfeiffer<\/em><\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff shariff-align-left shariff-widget-align-left\" style=\"display:none\"><div class=\"ShariffHeadline\"> <\/div><ul class=\"shariff-buttons theme-default orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=55%20Years%20of%20Good%20Vibrations%20%E2%80%93%20and%20now%20SMiLE%21%20%28Part%20Two%29 https%3A%2F%2Fblogs.nmz.de%2Fbadblog%2F2022%2F09%2F10%2F55-years-of-good-vibrations-and-now-smile-part-two%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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