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harmonyharmony
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« Reply #810 on: 00:37:09, 24-09-2008 » |
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Thanks for linking to that, Tantris.
I was harbouring an idle thought that I might be able to come down for that but I've just remembered that I have an accordion orchestra landing in Edinburgh on that Friday afternoon with a concert in the evening.
Bother.
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Bryn
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« Reply #811 on: 01:00:36, 24-09-2008 » |
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Thanks - I was paid by a magazine for it though, so I'd probably better not!  There is a much earlier recording by Finnissy, still commercially available I think, on the Etcetera label. The most stunning performance I've ever heard of it, though, was by a recently departed member of this very board, at King's College earlier this year; but I'm not sure if he recorded it. With the performer's permission, a rough and ready recording of that very performance was made on a "handy" digital recorder, but the performer withheld permission for its being made available to others. |
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Sydney Grew
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« Reply #812 on: 02:31:52, 24-09-2008 » |
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Hi; Finnissy is here, . . . We had a glance at the two pages of Finnissy's score there, and it looks plain silly. It is mere "eye music" to use Mr. Lebrecht's term - impossible to follow or to execute in any meaningful way. The reason for its having been written, we venture to suggest, must have been merely that Mr. Finnissy wished to impress in some way some small coterie or insignificant set. |
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time_is_now
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« Reply #813 on: 03:59:23, 24-09-2008 » |
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Mr Grew, I respectfully submit that you are 'off-topic'!
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Robert Dahm
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« Reply #814 on: 06:08:16, 24-09-2008 » |
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Mr Grew, I respectfully submit that you are 'off-topic'!
And we must must be quite firm about these things, for when such are allowed to pass uncommented upon, it is clear that everything is going to the bad. |
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richard barrett
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« Reply #815 on: 09:49:13, 24-09-2008 » |
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English Country-Tunes is of course one of the most significant works for solo piano of the late twentieth century, and has been "meaningfully" played by numbers of pianists apart from the composer himself, including James Clapperton, Rolf Hind, member Powell and ex-member Pace, and no doubt others too. Regarding "Cut and Splice", it's nice to see that this side of Stockhausen's work is also receiving some attention this year. I would love to have been taking part in those performances myself in fact. 
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oliver sudden
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« Reply #816 on: 22:37:32, 28-09-2008 » |
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We played Michaels Reise again a few days back in Warsaw for their eponymous Autumn. A feature of this performance: our trumpeter had injured his lip and so was required to pull out of the audible part of the performance. Instead he performed the rehearsed movements while someone else played the trumpet part.
There is of course only one other person who has ever played the trumpet part so to have him along was quite an experience. A quite extraordinary musician he is too.
The gig started with Cosmic Pulses. Now I think this is rather special although a colleague did grump that he'd heard quite a lot of that sort of thing. Oh well. It was newish to me and did take me on a rather lovely ride for half an hour. I'm still very much looking forward to Klang.
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...trj...
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« Reply #817 on: 10:01:19, 30-09-2008 » |
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stuart macrae
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« Reply #819 on: 11:37:32, 30-09-2008 » |
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I was amused by the mention of an ensemble called dung on that link trj! On clicking the link I got a myspace page which contained the following gem: "Until the mid-20th century, dung were always considered somewhat of a secret, although it’s next to impossible to keep the sound of a dung from attracting onlookers. In the late 1960’s, American and European trumpeters began to arrange public dung performances."  |
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time_is_now
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« Reply #820 on: 13:22:27, 30-09-2008 » |
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Why don't other British papers print reviews like this?  |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Turfan Fragment
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« Reply #821 on: 16:35:41, 30-09-2008 » |
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But it was really Rihm’s Concerto “Séraphin” that the public came for Probably true, but w/ the juxtaposition of Mouvement and Hoffnung, this made me a little bit. I wonder if the reviewer took a poll? |
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oliver sudden
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« Reply #822 on: 19:19:30, 30-09-2008 » |
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At a guess I would indeed reckon they came for the Rihm premiere and the Stockhausen deuxieme, possibly in the reverse order. But hey, Mouvement was surely a nice bonus. Not least for us.  I actually very much enjoyed Hoffnung at the premiere (I think I posted about it above) but I didn't think there was all that much in the way of tendentious piety in it. We played the Rihm again a couple of nights back and it convinced me much more as a piece. Maybe just because it was the second time, maybe because the conductor (also with the initials EP) was able to get a bit closer to it. Either way, the 50-odd minutes fairly zipped on by. |
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« Last Edit: 19:22:21, 30-09-2008 by oliver sudden »
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time_is_now
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« Reply #823 on: 03:24:29, 01-10-2008 » |
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EP 50-odd minutes  (Well, it made me smile anyway ...) |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Turfan Fragment
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« Reply #824 on: 04:50:01, 01-10-2008 » |
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A bit thick I am, would that be 3nn0 90993?
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