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The Radio 3 Boards > The Radio 3 Boards > Classical Music on Radio 3 > Now spinning
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Author Topic: Now spinning  (Read 89672 times)
Ron Dough
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« Reply #2580 on: 17:36:52, 01-04-2008 »
Oh yes, Dan:

http://composers21.com/compdocs/deltredd.htm


An Alice Symphony, Vintage Alice, In Memory of a Summer Day and Haddock's Eyes all reside within the Dough Archive.....
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brassbandmaestro
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The ties that bind
« Reply #2581 on: 17:38:38, 01-04-2008 »
Going through my new batch of cds still!! From HvKs EMI's "the Great Recordings", Beethoven Triple concerto, with that classic line up of solists: David Oistrakh, Mstislav Rostropovich & Sviatoslav Richter,BPO); Wagner: Der Fiegende Hollander Overture; Parsifal: Preludes to Acts 1 & 3(Berliner Philharmoniker).

Brahms: Symphony no.2; Mozart: Masonic Funeral Music; Rchard Strauss: Metamorphosen(Weiner Philarmoniker);

Mozart  Symphonies nos 40 & 41(Scottish CO/Mackerras).

Still got 4 other albums to listen, plus 4 more of the HvK set.
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richard barrett
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« Reply #2582 on: 17:42:27, 01-04-2008 »
I knew there were other del Tredici Alice pieces but I hadn't realised how many before I looked at that page, Ron! That counts as an obsession I think.

However, this
Quote
he is regarded as the father of neo-Romanticism
I find a bit questionable. By whom, I wonder.
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Ron Dough
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« Reply #2583 on: 17:58:09, 01-04-2008 »
Obsession is almost too mild a world, r, but it certainly seems to have got his creative juices flowing Shocked
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time_is_now
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« Reply #2584 on: 19:11:13, 01-04-2008 »
DDT spent the best part of 20 years writing almost nothing but Alice-based pieces, although the range of forms/instrumentations/genres he managed to take in is greater than that statement might lead you to expect.

He seems to be a composer who works with long-term creative obsessions: the Alice years were preceded by a decade in which at least 3 correction: 5 works were based on the early poetry of James Joyce (Syzygy, I Hear an Army, Night Conjure-Verse), and in the 1990s he made a conscious decision to move away from Alice, partly because he felt he'd used up the material, but also because he said he'd become less interested in building these big extravaganzas around the idea of poking suggestively at a highly repressed Victorian sexuality. Since then, most of his works have been settings of contemporary poetry - often on gay themes, and sometimes very explicit (as in his Gay Life cycle written for Michael Tilson Thomas and the San Francisco Symphony, or his string quartet which the commissioning group refused to perform because they were required to speak the names of explicit sex acts), but also including some quite beautiful love poems.

The music's got a bit sprawlingly degenerate in some of these recent pieces, whereas what was impressive about the works around 1980 was the incredibly tight leash on which he kept his huge forces - leading a lot of it to sound like the music that I think Robin Holloway's always wanted to write but never been capable of.
« Last Edit: 19:28:33, 01-04-2008 by time_is_now » Logged
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
martle
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« Reply #2585 on: 19:16:39, 01-04-2008 »
Quote from: time_is_now on 19:11:13, 01-04-2008
leading a lot of it to sound like the music that I think Robin Holloway's always wanted to write but never been capable of.

I'm not particularly well-versed in the music of either composer, tinners; but from what I do know, that sounds like a nail being plonked on the head.
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Green. Always green.
Antheil
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« Reply #2586 on: 19:19:50, 01-04-2008 »
And, of course on the subject of Alice who can forget "Go Ask Alice" with Grace Slick and Jefferson Airplane?

I'll get me catapillar  Cheesy  Well, I wud if I could spel it!!
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Reality, sa molesworth 2, is so sordid it makes me shudder
Andy D
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« Reply #2587 on: 00:10:53, 02-04-2008 »
I have fond memories of Jefferson Starship, albums such as "Blows Against the Empire" - though I don't have any of their stuff to listen to now. I'm currently listening to Philip Larkin as heard on the Archive Hour on Radio 4 on 1/3.
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richard barrett
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« Reply #2588 on: 17:48:13, 02-04-2008 »


Yes.  Yes.

Thank you Mr Sudden for pointing me in this direction.

YES.
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mahlerei
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« Reply #2589 on: 19:05:34, 02-04-2008 »
Rossini's Péchés de vieillesse, Books 4 & 10. Marco Sollini makes it all sound very jolly.

Seriously though this is most enjoyable music, part of a three-volume set from Chandos.
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perfect wagnerite
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« Reply #2590 on: 10:53:32, 03-04-2008 »


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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
brassbandmaestro
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The ties that bind
« Reply #2591 on: 16:11:57, 03-04-2008 »
Been having another listen to the HvK Brahms 2 this morning and found that it was recorded in 1946. I know the sound is rather wonky in places but not at all a bad transfer when you think about the age!!
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ahinton
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« Reply #2592 on: 17:48:20, 03-04-2008 »
Quote from: time_is_now on 19:11:13, 01-04-2008
the music that I think Robin Holloway's always wanted to write but never been capable of.
I can't speak for his capabilities (except that I do think the Second Concerto for Orchestra shows plenty of them) but your idea that he might get frustrated in such ways from time to time might be reflected in some measure in certain remarks he publishes about other composers; leaving aside my own brush with him (not that we ever engaged in discussion of it), I found myself in good company when I read, for example, in a piece about Salome:

"Mahler’s songs, the oases of authentic genius amid the slag of the full-length novels and symphonies"

and

"The Planets, Belshazzar’s Feast, Turangalîla — works of once-ravishing overkill that now induce little more than a groan"

and in another piece about "music while you work"

"washing and polishing cutlery and glass by anything of Messaien, acres of dusting match acres of dust-dry Hindemith"

(all, including the Messiaenic typo, courtesy The Spectator)

I'm not sure what this may or may not tell us about the music that he'd like to write, but one could perhaps assume there to be some kind of connection between such remarks and such frustration. What do you think?
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richard barrett
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« Reply #2593 on: 18:10:34, 03-04-2008 »
That would be my favourite recording of Ulisse, hope you're enjoying it. (Jacobs' Poppea is even better I think.)

However I am listening to Heinz Holliger's 1967 oboe concerto, Siebengesang. There's been much enthusing and indeed unenthusing about Holliger's more recent work, but what he was writing in the 1960s, while rather different in style, has I think improved with age in a way that a lot of music from that period really hasn't. While Siebengesang contains pretty much everything that Holliger knew about the oboe at the time (ie everything that was known), it's an extraordinary musical journey in just over 20 minutes, ending with a female chorus energing from the orchestra with a setting of the final part of Georg Trakl's poem "Siebengesang des Todes", around which the whole work is structured and whose "shimmering streams / filled with purple stars" are quite an apt description of the kind of post-Berg, post-Boulez atmosphere of the piece.

Earlier I listened to the Schütz again. It's a bit disconcerting at the beginning to hear different music from the usual (only the basso continuo part, with cues for the vocal entries, and the text, survives for the opening chorus so the rest has to be reconstructed), but this new version clearly sounds a lot more like Schütz's other work than the older version I've heard before, even in supposedly "historically aware" performances, which is more like (I'm guessing) a 1950s idea of generic baroque texture. (Here is a rather interesting article on the reconstructions, for those Schütz fans around here who are interested in such labours and can read German, I know there's at least one of you.)
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Andy D
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« Reply #2594 on: 23:56:54, 03-04-2008 »
Anthony Braxton Composition #175.

His work is new to me and I haven't read the thread about him but it prompted me to give him a listen.
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