QUOD LIBET ALBUM ART UPDATE
My music library has grown exponentially in the past year or so, due to boredom during covid, and I've come to the conclusion that playlists (as in, static lists of music files that you need to update manually) are functionally useless for large libraries. Curious to get some feedback on the idea here!
QUOD LIBET ALBUM ART CODE
* technical debt in the code base - I tried to make a PR to fix some of it, but I wasn't willing to put in the extra work needed to make it Python 2 compatibleĪs for a tagging system: Here's a comment I made in another thread a few months ago. * MusicBrainz is given too much priority by the autotagger, and the Discogs plugin has been somewhat neglectedd
* emphasis on albums - most of my songs are singletons, and beets doesn't have good support for this use case And see the group’s website for news of upcoming concerts and to purchase their debut album.Beets is great! Unfortunately there there are a few things that prevent me from actually using it: To witness the band and composer Sharlat having a bit of fun, see the brief video below. Together as the Quodlibet Ensemble they are sinewy, effervescent, serious, glossily entertaining. These fine musicians gelled throughout the concert. Though designated “for Four Violins,” Sharlat’s bracing Capriccio provides plenty of opportunity for all the strings to be featured. The composer makes use of Bach’s themes and classical compositional techniques to create a prismatic work of accessible modernism. A couple of sections feel like traditional fiddle dances split into multiple colors by a prism. The piece builds toward howls and screams, a furious jig, and some keening dissonance among the four lead violins. 2 as a starting point, Sharlat engineers energetic rhythmic surprises, ear-catching counterpoint, and busy, angsty drama. The Capriccio for Four Violins, Strings, and Harpsichord by Yevgeniy Sharlat is an exciting waker-upper. The beautiful music just kept going, and eventually it started to give me anxiety, as if I were listening to a unending song sung by a severely autistic person. By that time, though, I’d begun to tire of the sameness of mood. Darker harmonies marked one section toward the end. She maintained a limpid tone throughout her range her upper register mingling with the celesta’s high notes evoked faery magic.įrom top to bottom the piece came across with total seriousness and honesty Martynov seems to want not a hint of irony. At times she made me think of the passionate sweep of Heifetz at other times of the precisely tempered musicality of Joshua Bell. Soloist Katie Hyun was marvelous, bowing the melodies in the best Romantic tradition. The ensemble’s eight violins, four violas, two cellos, one bass, and keyboard filled the hall with vibrant harmonies and melodies, beautifully constructed without cliché. Though it contains neoclassical elements and hints of minimalism, this lush piece built partly on simple major scales is Romantic through and through. Vladimir Martynov surprised audiences with his unabashedly sentimental 1988 work Come In!. We were reminded that there are many ways to surprise people. A “Lament of the Wounded Musketeers” is expressively sad, almost funereal. An “Aria” features lovely spectral harmonies. In one piece each instrument plays a different folk/drinking song, producing a couple of minutes of hilarious cacophony. Other vignettes include slides, foot stomps, and percussive effects. The resulting alarming rattle suggests the noises of the battlefield. But Biber calls for a piece of paper to be held against the strings as the low-end player (in this case the bass viol) whacks them with the bow. It’s no surprise to find a march in a battle suite, for example. Each short piece in this collection from 1673 illustrates a different scene from a battle, but Biber goes beyond the ordinary. The evening began with the Battaglia suite by Heinrich Ignaz Franz Biber. Bach, all played beautifully with vigor and virtuosity.
The string group’s hourlong concert at the Baryshnikov Arts Center leaped from the zany Baroque to a 21st century work inspired by J.S. The Quodlibet Ensemble showed the other night how much fun it can be to mix interesting music from widely different eras.
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