Jonathan Powell
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« Reply #135 on: 22:09:37, 06-08-2007 » |
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Dear M. Poivrade Then what do you mean by drivel? I have a feeling that, perhaps by your definition, I love drivel of every sort! Not that I am at all embarrassed by this ... it could even be a bit of propaganda (or is it propoganda) for my way forward ... since I never really liked what most classical people called proper music. I only have the odd bit of Beethoven and Brahms and such like in my repertoire and, much as I love it, I do go for other things by and large. At the mo, am having a Jobim, Gnattali, Buarque and other MPB year. Much love to all  bye bye J PS and don't get so worked up about things we will never know for sure |
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Poivrade
Posts: 36
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« Reply #136 on: 22:14:29, 06-08-2007 » |
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Drivel is saying the first thing that comes to mind in a sort of stream-of-consciousness way, regardless of its narrative sense. Doesn't that at least make some sense with regard to this music?
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Bryn
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« Reply #138 on: 22:24:41, 06-08-2007 » |
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Many thanks for that, Sydney. It did in fact improve my mood no end.
Autoharp, try scrolling down to BLAST, here. You might just recognise a couple of the names mentioned.  |
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increpatio
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« Reply #139 on: 22:26:34, 06-08-2007 » |
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I'd agree that that piece is a partial exception, but only because of its length.
Only because of it's length? I do not completely follow. Well, what other things might you consider to be borderline? |
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ahinton
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« Reply #140 on: 22:35:22, 06-08-2007 » |
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PS and don't get so worked up about things we will never know for sure
Ah - I think that someone has the measure of - er - something here; this very thing is a point that I have tried (sometimes in vain) to make - that it would be so much better if people did not try to claim that they knew something that in fact no one knows or can know as of right now. Musicologists of various persuasions do not always get above themselves and seek to do this - but some of them undoubtedly do so and, when they do, it can at the very least be both a great shame and profoundly unhelpful. Best, Alistair |
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Poivrade
Posts: 36
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« Reply #141 on: 22:37:40, 06-08-2007 » |
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I'd agree that that piece is a partial exception, but only because of its length.
Only because of it's length? I do not completely follow. Well, what other things might you consider to be borderline? Thinking more deeply about it, you are right. It just seems less drivel-like because it's over quicker. Dear me, as I type such things it must seem that I hate the stuff, which wouldn't be true at all. And hats off to Jonathan for playing Sorabji so marvellously. It's the sheer quantity I can't imagine. |
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Ian Pace
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« Reply #142 on: 22:41:55, 06-08-2007 » |
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Many thanks for that, Sydney. It did in fact improve my mood no end.
Autoharp, try scrolling down to BLAST, here. You might just recognise a couple of the names mentioned. Now why can't we have debates like that here....?  (P.S. I think I have an idea who 'Pedantic Wretch' might be, don't you?) |
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« Last Edit: 22:46:22, 06-08-2007 by Ian Pace »
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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increpatio
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« Reply #143 on: 22:59:29, 06-08-2007 » |
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Thinking more deeply about it, you are right. It just seems less drivel-like because it's over quicker. I have to say again the main feature of that piece for me is not its length, but of it's form and light texture. Do you not discriminate between his fugues, his nocturnes, and his variations, or do they have no positive features beyond their "stream-of-consciousness"-ness (which I don't find in ITH, or in several of the etudes or earlier works)? |
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Poivrade
Posts: 36
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« Reply #144 on: 23:09:41, 06-08-2007 » |
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Ys and no, I suppose. The intention is clearly differentiated but the results seem to me similar, which is always a problem of perception where composers use conventional harmonies in colouristic and non-functional ways. Much as I sometimes enjoy the fugal writing, the composer sometimes seems magnificently indifferent to normal notions of counterpoint.
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Ian Pace
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« Reply #145 on: 23:12:11, 06-08-2007 » |
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Ah - I think that someone has the measure of - er - something here; this very thing is a point that I have tried (sometimes in vain) to make - that it would be so much better if people did not try to claim that they knew something that in fact no one knows or can know as of right now. Musicologists of various persuasions do not always get above themselves and seek to do this - but some of them undoubtedly do so and, when they do, it can at the very least be both a great shame and profoundly unhelpful. Can we have some details of who these musicologists are that you pronounce upon, and which works you are referring to? |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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ahinton
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« Reply #146 on: 05:55:18, 07-08-2007 » |
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Ah - I think that someone has the measure of - er - something here; this very thing is a point that I have tried (sometimes in vain) to make - that it would be so much better if people did not try to claim that they knew something that in fact no one knows or can know as of right now. Musicologists of various persuasions do not always get above themselves and seek to do this - but some of them undoubtedly do so and, when they do, it can at the very least be both a great shame and profoundly unhelpful. Can we have some details of who these musicologists are that you pronounce upon, and which works you are referring to? All of this has already been done to death in various of these pages; you have even mentioned some of them yourself. You have promised us that you'll leave off discussuing KSS as you have no further inclination to do this. It has been suggested to me that I ought perhaps not to rise to your bait; I will on this occasion take that advice. Now - once again - let's get back to the Sorabji discussion that is the intended purpose of this thread. Best, Alistair |
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Sydney Grew
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« Reply #147 on: 11:28:35, 07-08-2007 » |
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Many thanks for that, Sydney. It did in fact improve my mood no end. To be fair, we should provide its companion page: Also it is worth noting that among the forty or so individuals BLASTED on page 21 are Edward Elgar, " Beecham (Pills, Opera, Thomas)," and Joseph Holbrooke. |
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ahinton
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« Reply #148 on: 13:50:17, 07-08-2007 » |
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Many thanks for that, Sydney. It did in fact improve my mood no end. To be fair, we should provide its companion page: Also it is worth noting that among the forty or so individuals BLASTED on page 21 are Edward Elgar, " Beecham (Pills, Opera, Thomas)," and Joseph Holbrooke. I confess that I initially misread that last bit as "BRITISH GIN" but I have no doubt that this material that you have presened to us all here has been a tonic all round... Best, Alistair |
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oliver sudden
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« Reply #149 on: 13:51:35, 07-08-2007 » |
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What's on page 4? Ads?
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