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The Radio 3 Boards > The Music Boards > Music Through The Ages > 21st Century > what is 21st century music actually?
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Author Topic: what is 21st century music actually?  (Read 4061 times)
oliver sudden
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« Reply #105 on: 17:09:38, 18-04-2007 »
Quote from: quartertone on 16:42:52, 18-04-2007
Obtuse my arse.
We already don't seem to see eye to eye on playing music. Shouldn't be a surprise we don't see eye to eye on how to run an ensemble on a tiny budget either.

Message received. Over and out.
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quartertone
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« Reply #106 on: 17:26:26, 18-04-2007 »
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how to run an ensemble on a tiny budget

That's Libra. I would have thought Elision would be a slightly different matter.
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oliver sudden
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« Reply #107 on: 17:39:53, 18-04-2007 »
The all-powerful internet can tell you that ELISION is and has always been run by this man:

Alas the photo doesn't show you his knees but if they did you would see in an instant that that's not me.
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quartertone
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« Reply #108 on: 17:55:46, 18-04-2007 »
Yes, I'm well aware that Daryl decides on Elision's programmes. I'm sure he had his reasons.
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oliver sudden
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« Reply #109 on: 18:10:26, 18-04-2007 »
I can't speak for Daryl but I would suspect that he was watching Mark's development in Europe as closely as I was. ELISION's budget doesn't let it do everything that might be worth doing either, even though the large-scale things Daryl does manage to do are often big enough that anyone used to the European music circuit would expect them to be coming from an ensemble doing concerts every week or two. If I remember right the last time I saw Mark was indeed in Daryl's company, in Berlin at a restaurant near the Hebbel-Theater where we had just performed an opera of Liza Lim's.

When I said it seemed Mark was just hitting his straps, that's what I meant: it seemed the ideas he had been juggling for years were starting to come together in a way that promised a hell of a lot. I was looking forward to spending more time with him in Europe in a way I couldn't do when he lived in the US and I lived in Australia. (Although I did spend a few days at his place in San Diego in May 1997 listening to Puccini and Brahms among other things. He made very fine sushi and knew his way around the single malts.) It was mainly on his advice that I went for a scholarship at Schloss Solitude in Stuttgart, which ended up being the thing that got me over to Europe, as indeed it had been for him. So he was pretty life-changing for me. I wish we'd been able to work together properly on something, but, well, cue the Mussorgsky quote again...
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quartertone
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« Reply #110 on: 12:29:25, 19-04-2007 »
Quote from: oliver sudden on 21:48:07, 17-04-2007
I think I may well be the only person apart from Marcus Weiss who thinks Giorgio Netti's monster soprano sax piece is actually really good.

No, you can see from my post above that I'm a member of that tiny clique too. In fact, after listening to it again, I think it's a landmark work. I'll post more about it anon.

Quote
And I'm not saying that just so I can say I've played the sax he wrote it on.

Well, you did anyway. Wink
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oliver sudden
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« Reply #111 on: 14:29:33, 19-04-2007 »
Quote from: quartertone on 12:29:25, 19-04-2007
Quote from: oliver sudden on 21:48:07, 17-04-2007
I think I may well be the only person apart from Marcus Weiss who thinks Giorgio Netti's monster soprano sax piece is actually really good.

No, you can see from my post above that I'm a member of that tiny clique too.
The one where you said you found its length 'extremely problematic', or was there another one I've missed? Wink
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quartertone
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« Reply #112 on: 14:50:21, 19-04-2007 »
Quote from: oliver sudden on 14:29:33, 19-04-2007
Quote from: quartertone on 12:29:25, 19-04-2007
Quote from: oliver sudden on 21:48:07, 17-04-2007
I think I may well be the only person apart from Marcus Weiss who thinks Giorgio Netti's monster soprano sax piece is actually really good.

No, you can see from my post above that I'm a member of that tiny clique too.
The one where you said you found its length 'extremely problematic', or was there another one I've missed? Wink

Nope, that was the one. There doesn't have to be a contradiction there - problematic things are often most worthwhile.
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oliver sudden
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« Reply #113 on: 15:21:34, 19-04-2007 »
Ah, you won't mind me saying I find you extremely problematic then.  Wink
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quartertone
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« Reply #114 on: 15:23:23, 19-04-2007 »
Quote from: oliver sudden on 15:21:34, 19-04-2007
Ah, you won't mind me saying I find you extremely problematic then.  Wink

Not in the least. Wink Wink In fact: I insist upon it.
« Last Edit: 19:03:35, 19-04-2007 by quartertone » Logged
quartertone
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« Reply #115 on: 19:04:52, 19-04-2007 »
Actually, after further listening and contemplation, I'd dilute my formulation to "somewhat problematic". That's not to say it's any less worthwhile, though.
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Biroc
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« Reply #116 on: 14:20:00, 29-04-2007 »
Czernowin's PNIMA. Excellent stuff.
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"Believe nothing they say, they're not Biroc's kind."
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