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time_is_now
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« Reply #2505 on: 17:27:59, 28-03-2008 » |
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Surely anticipations like that F don't count! That's what I woz taught, any road. The 'true' parallels are between the G/Bb and the F/Ab.
Not what I was taught! It's what I was taught, too. But I don't remember anything from what I was taught that would explain away that E flat in the vocal piece. martle, I was in a kitchen containing two cats and a gun the other day (it looked like a pistol to me, but what do I know?). I wasn't really in possession of enough faculties to inquire too closely at the time, but I do wonder if they were perhaps preparing the photo shoot from which you've obviously been sent the negatives. |
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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 #2506 on: 18:41:11, 28-03-2008 » |
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Surely anticipations like that F don't count! That's what I woz taught, any road. The 'true' parallels are between the G/Bb and the F/Ab.
Not what I was taught! It's what I was taught, too. But I don't remember anything from what I was taught that would explain away that E flat in the vocal piece. Once again we're dealing with what are essentially harmless: the A and Bb in the Taille are both chord-tones, the Filius's D is a common tone btw the chords, and the Eb-C# are double chromatic neighbors (i.e., non-chord-tones). We wouldn't've made such a fuss if he'd started with C#; sure wish he'd be more accommodating to us theorists. See how we struggle so to make sense of it all! Sorry, should stop referring to myself as a theorist. Much more befuddling is those parallel fifths in various Chopin Mazurkas, the Scherzo op. 39, Etude op.10/3, Beethoven 6th Symphony. (Are parallel fifths particularly bucolic?) |
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Evan Johnson
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« Reply #2507 on: 20:52:43, 28-03-2008 » |
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Not many parallel fifths here as far as I can hear, but I'll be sure to report back should that change:  |
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increpatio
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« Reply #2508 on: 21:00:51, 28-03-2008 » |
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I had a very disappointing experience today with Im Januar am Nil. For some reason the opening, which I on past hearings have found really, really appealing, sounded rather like a dull chord progression, and the rest of the piece, which I usually find quite pleasant, sounded really dull. Just one of those mornings.
However, I had a really *good* experience after that with that album The Marriage of Heaven of Hell, which is one I know quite well also, but found I was really in the mood for it today. I also, on my way back home, stumbled across a song by Rorem, The Serpent, that I had heard several times before, but somehow found rather endearing this time (also, it's the first time I had heard it and actually made out the lyrics). It's the first song of his I've connected with, I think.
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richard barrett
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« Reply #2509 on: 23:24:34, 28-03-2008 » |
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 (as I've said before) the only recording of this piece I've heard that I've really taken to. I think I'd like to hear what Eschenbach does with Mahler. I've also just noticed that I seem to have a recording of Zemlinsky's opera Es war einmal which I've never listened to. |
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« Last Edit: 23:38:57, 28-03-2008 by richard barrett »
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time_is_now
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« Reply #2510 on: 23:29:09, 28-03-2008 » |
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I've been wondering about buying that recording for a while, Richard - mainly because like you I've never really taken to any other recording of Zemlinsky - but I have one very specific question which I've been meaning to investigate: on http://www.amazon.co.uk/Zemlinsky-Lyrische-Symphonie-Matthias-Goerne/dp/B000EBEJ70/ref=sr_1_1?ie=UTF8&s=music&qid=1206751462&sr=1-1 it says "Requires SACD-compatible hardware". Why? My initial reaction is that there must be a separate CD version, but I made this note to myself about that URL quite a while ago and I'd be surprised if I hadn't looked for other formats at the time.  |
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« Last Edit: 00:47:11, 29-03-2008 by time_is_now »
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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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richard barrett
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« Reply #2511 on: 23:38:24, 28-03-2008 » |
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it says "Requires SACD-compatible hardware".
This is not true, since I have no such hardware. |
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Ron Dough
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« Reply #2512 on: 23:52:06, 28-03-2008 » |
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Birtwistle's Earth Dances from Ao3 this afternoon: BBCSO/Brabbins from the Bonn Beethoven Festival last year.
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Andy D
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« Reply #2513 on: 00:06:12, 29-03-2008 » |
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Not strictly "spinning" nor strictly "now" but I heard a very good bit of Birtwistle earlier, his Crowd for solo harp in a live concert. Never really got on with his music but this was excellent  |
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brassbandmaestro
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« Reply #2514 on: 00:17:45, 29-03-2008 » |
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Yes Ron Dough I heard that as well and found it most appealing. Its not often ive heard a work by HB that I really like. There is one i have great fondness for and that his Grimethorpe Aria, which I had a preview before it was premeired at the proms of that year(1976 - 7. season?)
Now playing 'The heaton Collection, vol.4'. People must investigate this composer. So original. Although, primarily a brass band composer, he is really one that needs to be heard for what he was as a composer. Played magnicently by Black Dyke Band/ N J Childs.
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time_is_now
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« Reply #2515 on: 00:53:45, 29-03-2008 » |
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a very good bit of Birtwistle, his Crowd for solo harp Yes, I liked that more than almost any other recent piece of his. And I've spoken to quite a few people who don't much like Birtwistle but like that piece ... maybe something to do with the relatively limited pitch -class content necessitated by writing for the harp in that way, although I don't think of Birtwistle's usual style as being particularly chromatic. Interesting, anyway. I've actually never had the chance to hear Grimethorpe Aria. I imagine it's a bit like An Imaginary Landscape or something, although I don't really know what grounds I've got for thinking that. Edited to include the word I actually meant to write before 'content'. Oh, and thanks Richard for the info. I hadn't spotted that at the AGP. |
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« Last Edit: 04:19:21, 29-03-2008 by time_is_now »
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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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richard barrett
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« Reply #2516 on: 01:03:54, 29-03-2008 » |
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Grimethorpe Aria can be found at the Avant Garde Project here.
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« Last Edit: 01:07:27, 29-03-2008 by richard barrett »
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Bryn
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« Reply #2517 on: 01:24:25, 29-03-2008 » |
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it says "Requires SACD-compatible hardware".
This is not true, since I have no such hardware. Amazon UK often get such things wrong. I recently sent them 3 separate corrections re. their info on the Rzewski "People United" DVD. They had got the duration, the Region Code, and the spelling of his forename wrong. In their email confirming their application of my corrections they asserted that accuracy in such matters was very important to them.  |
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Evan Johnson
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« Reply #2518 on: 01:41:32, 29-03-2008 » |
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oliver sudden
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« Reply #2519 on: 04:37:49, 29-03-2008 » |
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 And of course when the tonic of a chorale is anticipated at the cadence and one of the other lines moves 5-4-3 all bets are off... Surely anticipations like that F don't count! That's what I woz taught, any road. The 'true' parallels are between the G/Bb and the F/Ab. I now REQUEST AND REQUIRE all you theorists to say that if a student were to submit what Bach actually wrote you would not at least caution them. Sorry, but if TWO ADJACENT NOTES form parallel fifths then, er, you have parallel fifths, no? At least that's how it was when I went to school. |
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« Last Edit: 04:41:13, 29-03-2008 by oliver sudden »
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