"Harmonielehre" is a fabulous composition by John Adams (en.wikipedia.org/wiki/Harmonielehre).
I've been waiting to work with/for that masterpiece since the very first time I heard it, but as I am getting older, I should not put aside for later the things I can/must do now.
As for the images, as a painter, I find that much of the digital works we see today have been influenced by the "photo-realism" agenda, and not only the figurative works, but the (so-called) "abstract" works as well.
At a working distance, a painter sees something quite different from what most viewers would see, he/she has to step back and look at his work from a greater distance in order to see the whole composition the way viewers usually do, but that overall view is not available to the painter while painting.
As Philip Guston demonstrated (moma.org/collection/artist.php?artist_id=2419) when he denied himself the right to step back and view his work from a distance, it is not necessary to impose one's will on the painting in order to find/create a satisfactory composition. Guston proved then that there is such a thing as "inherent composition" (a term I received from Dore Ashton en.wikipedia.org/wiki/Dore_Ashton when I was still teaching at the NY Studio School of Drawing, Painting and Sculpture nyss.org) and hearing that, I realized that the search for that "inherent composition" was what had been driving my work for decades, including today in the "time-art" dimension.

"Harmonielehre" is "up there" for me with Stravinsky's "Sacre" (vimeo.com/64193347) and Reich's "Four Sections" (vimeo.com/46826640), pieces I have had the joy of sketching to/with/for.

This is another magic music piece I would love to have the privilege to "do" in real-time with a live orchestra.

Music performed brilliantly in concert (in Essen, on November 12th, 2011) by the Kölner Philharmonie (en.koelner-philharmonie.de), conducted by Kristjan Järvi (en.wikipedia.org/wiki/Kristjan_Järvi).

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