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harmonyharmony
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« Reply #3615 on: 13:23:52, 15-09-2008 » |
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Iannis Xenakis, Ioolkos
Is it just me, or does this sound like Ives?
Weird.
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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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oliver sudden
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« Reply #3616 on: 14:42:17, 15-09-2008 » |
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Interestingly, particularly in the light of Previn's Walton 1 (released in the year before he started the RVW cycle, and renowned for its vivid, violent verve) neither 4 nor 6 in his RVW cycle really exploits their temperament to the same degree, and it's other qualities in the composer's music which he brings to light. Now I was going to mention that very same contrast but got distracted! I do find Previn's 6th somehow more successful than his 4th in that way though - maybe it's a piece which doesn't rely so much on raw energy to make an impact. (Er, yes, well, given the way it ends of course it doesn't, so thank you Captain Obvious for that one.) |
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brassbandmaestro
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« Reply #3617 on: 15:29:43, 15-09-2008 » |
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Having something of a brass band sequence, for a change! It is honest.
Music for Battle Creek, the music of Philip Sparke: March, The Conqueror; *Tuba Concerto; Dances & Alleluias; A Quiet Moment; The Saga of haakon the Good; Royal Salute; Sambesi*; Music for Battle Creek.
Black Dyke Band, Dr Nicholas J Childs, conductor.
The Promised Land(title track)(Kenneth Downie); Of Men and Mountains(Edward Gregson); The year of the Dragon(Philip Sparke); Trittico(James Curnow); A Tear in the Fabric of Time(Gareth Wood). Cory Band, Dr Robert Childs.
Music of the Spheres. Harrison's Dream(Peter Graham); Tristan Encounters(Martin Ellerby); Contest Music(Wilfred Heaton); Music of the Spheres(Philip Sparke).
Cracking cds these. A few compositions by Philip Sparke, he is, one of the bmost popular composers. Peter Greaham orginally came from SA background. he still writes for them. harrison's Dream is one of his best works. Kenneth Downie is an SA person. He has a real feel for writing music that includes extracts from hymns or various things like that.
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time_is_now
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« Reply #3618 on: 15:38:54, 15-09-2008 » |
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James Dillon: ignis noster
It's been a long time since I listened to this (7 or 8 years at least!). Why can't he always be this good?!
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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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brassbandmaestro
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« Reply #3619 on: 15:40:40, 15-09-2008 » |
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Tinners, its the old adage. We are only mere mortals. Everyone has an off day, even the most gifted of gifted!
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Turfan Fragment
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« Reply #3620 on: 17:17:13, 15-09-2008 » |
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I don't have much interest in ignis noster, but I do think his cousine helle nacht is a pretty great representation of something representable in no other way.
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Tantris
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« Reply #3621 on: 18:20:16, 15-09-2008 » |
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What is James Dillon doing/writing now? I have not seen much recently, and I'd like to see some new string quartet or piano music being played.
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oliver sudden
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« Reply #3622 on: 19:15:32, 15-09-2008 » |
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About a year ago I played in the premiere of theatrum:figurae, for oboe, clarinet/contrabass clarinet, bass clarinet, trumpet, trombone and percussion. (ELISION ensemble, Warsaw Autumn.) A very fine thing it was too. Now spinning here:  From this box, the French (indeed European) premiere of Turangalîla. Thanks to makropulos for the heads-up! They don't play it like this any more. I do of course love the lush renditions as well but there's an astringency in the old performances that does a heck of a lot for me. |
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Eruanto
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« Reply #3623 on: 22:03:47, 15-09-2008 » |
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Now, I think I might shock people now. Currently wheeling is an old cassette-copy of something by 'Tangerine Dream'. I was given it when I was 10 by my school teacher of the time, who was a big fan of theirs. I don't think I've heard it for quite a while. So why have I dug it out again now? Well, I was reminded of it at one point in the second movement of the Xenakis at the Proms last week  |
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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martle
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« Reply #3624 on: 22:05:00, 15-09-2008 » |
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I'm shocked, Eru!  But do you like it? |
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Green. Always green.
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Eruanto
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« Reply #3625 on: 22:07:46, 15-09-2008 » |
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 In its own way, yes. Though up till now it's all been instrumental, so I don't know how I would react if there were singing. |
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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Ron Dough
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« Reply #3626 on: 22:08:48, 15-09-2008 » |
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Which one, eru? Is it Phædra?
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time_is_now
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« Reply #3627 on: 22:11:18, 15-09-2008 » |
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About a year ago I played in the premiere of theatrum:figurae, for oboe, clarinet/contrabass clarinet, bass clarinet, trumpet, trombone and percussion. (ELISION ensemble, Warsaw Autumn.) I wish I could have heard that. (I very nearly did, if it's the concert I'm thinking of which also contained a piece by sometime Member Cassidy.) NS: Poulenc, Sonata for Flute and Piano. Haven't heard this for a long time, and was a bit thrown by what for a moment sounded like 'Glitter and Be Gay' at around 1'00" into the first movement! |
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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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Eruanto
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« Reply #3628 on: 22:15:19, 15-09-2008 » |
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Which one, eru? Is it Phædra?
I'm afraid I don't have any more info on it than the group name, Ron. Their website isn't much help at finding out either. |
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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Ron Dough
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« Reply #3629 on: 22:24:45, 15-09-2008 » |
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NS: Poulenc, Sonata for Flute and Piano. Haven't heard this for a long time, and was a bit thrown by what for a moment sounded like 'Glitter and Be Gay' at around 1'00" into the first movement!
Spooky, t: unless I'm much mistaken, both date from 1956, so it's possible that neither knew the other's piece. |
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