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oliver sudden
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« Reply #15 on: 17:02:08, 13-09-2008 » |
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Perhaps there were none in the SPNM's current list: the composers are their choice rather than the BBC's. Here's the spnm shortlist (anonymously selected in itself, of course): http://www.spnm.org.uk/?page=shortlist/composerList.htmlI count about 25 female composers there. They would all, in an ideal world, get equal opportunities of this nature... It surely wouldn't have hurt, would it? Pity, really... |
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martle
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« Reply #16 on: 17:06:13, 13-09-2008 » |
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On the face of it, yes; but everyone on the shortlist gets 'promoted' equally, as I say. It's just that none of the female composers were selected for this particular programme (and the BBC presumably decided to record these pieces - I'm sure spnm would love everything they promote to be broadcast!).
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Green. Always green.
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trained-pianist
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« Reply #17 on: 17:41:07, 13-09-2008 » |
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I don't know why this decision was taken, but the music of two composers that I just heard (Charlie Usher: Rothko Monody
Chris Litherland: Funferall) are very interesting.
I don't know if there are good women composers writing now.
The information about Elisabeth Lutyends is fascinating. What a character, what a life she had!
Thank you every one. I have a lot of catching up to do.
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oliver sudden
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« Reply #19 on: 18:06:01, 13-09-2008 » |
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Would you believe I caught a bus with Charlotte Seither just last night? And was able to inform her that Eduard Brunner plays a French system clarinet.
Indeed the bus was to a place where both Enno Poppe and I used to live in flats off the same corridor.
In the building where Mark Knoop and I are going to play a concert in December and where Mark played Enno's Theme and 840 Variations in late 2002 (I think it was).
In the city where I last played under the direction of Andre de Ridder.
Off to the Spooky thread with that one.
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time_is_now
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« Reply #20 on: 18:31:47, 13-09-2008 » |
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I do wish I'd heard that programme. I can't remember why I missed it now, but I was annoyed with myself about it. I recently had to revise my opinion of Unsuk Chin significantly upwards after finally getting round to hearing her DG 20/21 disc. But I guess Ollie's heard it, and still disagrees with me ... |
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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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oliver sudden
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« Reply #21 on: 18:34:26, 13-09-2008 » |
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I recently had to revise my opinion of Unsuk Chin significantly upwards after finally getting round to hearing her DG 20/21 disc. But I guess Ollie's heard it, and still disagrees with me ...
I suppose it depends what you revised it upwards from. But yes I have heard it and no, just no. Not for me, that stuff. |
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richard barrett
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« Reply #22 on: 18:35:48, 13-09-2008 » |
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I recently had to revise my opinion of Unsuk Chin significantly upwards after finally getting round to hearing her DG 20/21 disc. But I guess Ollie's heard it, and still disagrees with me ...
I suppose it depends what you revised it upwards from. But yes I have heard it and no, just no. Not for me, that stuff. baa |
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oliver sudden
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« Reply #23 on: 18:37:42, 13-09-2008 » |
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I recently had to revise my opinion of Unsuk Chin significantly upwards after finally getting round to hearing her DG 20/21 disc. But I guess Ollie's heard it, and still disagrees with me ...
I suppose it depends what you revised it upwards from. But yes I have heard it and no, just no. Not for me, that stuff. baa <shudder> |
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Ron Dough
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« Reply #24 on: 19:17:22, 13-09-2008 » |
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I do wish I'd heard that programme. I can't remember why I missed it now, but I was annoyed with myself about it. You can unannoy yourself right now, tinman. There's no reason why you shouldn't hear it eventually....  |
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pim_derks
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« Reply #25 on: 19:57:04, 13-09-2008 » |
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We are still awaiting the fulfilment of member Grew's offer to show us some of his own compositions in order that we may drink wisdom from them. Those compositions, dear Mr Barrett, are a fantasy. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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oliver sudden
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« Reply #26 on: 19:58:17, 13-09-2008 » |
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We are still awaiting the fulfilment of member Grew's offer to show us some of his own compositions in order that we may drink wisdom from them. Those compositions, dear Mr Barrett, are a fantasy. Shhhhhhhhhhhhhhhhh, pim, people might realise. |
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harmonyharmony
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« Reply #27 on: 11:17:11, 14-09-2008 » |
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My bus journeys so far have only allowed me to hear the first two pieces (and the opening of the Noyes).
I thought that Rothko Monody was ok, but I do think that there should be some kind of embargo on writing pieces inspired by Rothko... (and don't get me started on the introduction that this had 'nothing to do with Rothko Chapel').
I thought that the most interesting writing was towards the end, though I have to say I didn't really understand why the percussion was there.
Sydney - just a quibble with your terminology - am I not correct in thinking that the seconda prattica monody was always accompanied?
I didn't like the opening of Funferall with its rather obvious dance rhythms but once it got going it settled onto more of an even keel.
I liked it less than the first piece though. If the composer wanted drunken revelry or trumpets and drums or unrestrained babble, then I would suggest that he hasn't quite achieved it in this piece. It's quite well behaved really.
What strikes me at this stage is how there is a shared soundworld between the three composers and it's the same sound world into which Turnage and Macmillan seem to have settled. I'm hoping that at least someone in this programme is going to do something interesting with the orchestra rather than writing for it using tasteful orchestration. I'm not looking for a genius, I'm just looking for music that makes me sit up and give a carp.
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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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harmonyharmony
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« Reply #28 on: 14:32:59, 14-09-2008 » |
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... but thinking again (and listening again)... Charlie Usher's 21 and a student at the RNCM. Could I have pulled this out of the hat at that age?
[edit] ... oh but aren't the gong strokes that frame Funferall just so incredibly dispiriting? ... [/edit]
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« Last Edit: 14:45:08, 14-09-2008 by harmonyharmony »
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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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harmonyharmony
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« Reply #29 on: 22:35:40, 14-09-2008 » |
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The Noyes had (for me) some real howler moments and I really disliked the way that the tonal language 'emerged' from the Maxwell Davies/Tony Payne atonality that went before. But I can't deny that it was well written. I just didn't like it. My problem. A bit more objectively I think it was possibly rather too long.
The Mason was a bit disappointing. I had hoped for something exciting and interesting to happen. I definitely want to go back and listen again because, as I said earlier, I've met him before and was quite impressed by some of his work.
The Clarke had some of the most interesting textures featured in it, but also some of, what sounded to me like the cheesiest moments. Again, I'll have to go back and listen again.
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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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