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ahinton
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« Reply #90 on: 14:05:39, 10-04-2007 » |
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On a more positive note, Norman del Mar's Companion to the Orchestra provides many fascinating insights.
Do you mean Anatomy of the Orchestra (the book he dedicated to the composer thea Musgrave)? It is indeed a useful work. Best, Alistair No, Companion to the Orchestra was published in 1987, but Anatomy is very good too, from what I've heard. Thanks for this - I didn't and don't know it so must try to get it. Best, Alistair |
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autoharp
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« Reply #92 on: 14:12:16, 10-04-2007 » |
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A nerd writes :
3 contrabassoon concertos I'm aware of - by Donald Erb, Gunther Schuller + Roger Smalley.
Those of us of a certain age may remember "Elephant tango" by Cyril Stapleton and his Orchestra which featured said instrument: in the Hit Parade in 1956 would you believe.
Contrabass Sarrusaphone, anyone ?
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richard barrett
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« Reply #93 on: 14:33:11, 10-04-2007 » |
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Here's a review of its première from which I notice: "... in Wednesday's vibrant, rhythmically forthright performance, both sides of the piece registered forcefully. Thomas thought so too -- he punctuated the final chords with a triumphant "Yes!" that could be heard throughout the house." Can't quite imagine Klemperer doing that. |
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ahinton
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« Reply #94 on: 14:41:10, 10-04-2007 » |
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Here's a review of its première from which I notice: "... in Wednesday's vibrant, rhythmically forthright performance, both sides of the piece registered forcefully. Thomas thought so too -- he punctuated the final chords with a triumphant "Yes!" that could be heard throughout the house." Can't quite imagine Klemperer doing that. Quite so; he'd have instead exclaimed "Ja!", naturlich... I can't picture Adrian Boult doing that either, if it comes to that... Best, Alistair |
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« Last Edit: 12:54:13, 23-04-2007 by ahinton »
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richard barrett
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« Reply #95 on: 14:58:34, 10-04-2007 » |
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Those of us of a certain age may remember "Elephant tango" by Cyril Stapleton and his Orchestra which featured said instrument: in the Hit Parade in 1956 would you believe. My age isn't quite as certain as that, but I do recall that the bass saxophone enjoyed a certain amount of prominence in the output of the Bonzo Dog Band (eg. "My Pink Half of the Drainpipe"). |
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time_is_now
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« Reply #96 on: 15:17:54, 10-04-2007 » |
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in this work "Latin dance music is embedded in and contrasts with a variously tonal and atonal language." Surely that's the Turangalila-Symphonie? ... |
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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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autoharp
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« Reply #98 on: 17:35:13, 10-04-2007 » |
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Chaya Czernowin ? New to me but the "description" suggests a wry canonic haze.
Which happens to be an anagram.
Hmmm . . .
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richard barrett
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« Reply #99 on: 17:35:47, 10-04-2007 » |
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Yes indeed. Some of it is very interesting - there are two CDs on Mode as well as a DVD of her music-theatre piece Pnima - I particularly like her String Quartet and Sextet, though I find her music for larger forces often somewhat unfocused.
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Ian Pace
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« Reply #100 on: 17:41:53, 10-04-2007 » |
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Yes indeed. Some of it is very interesting - there are two CDs on Mode as well as a DVD of her music-theatre piece Pnima - I particularly like her String Quartet and Sextet, though I find her music for larger forces often somewhat unfocused.
Absolutely - well worth hearing, very interesting composer indeed. (and realising that Richard and I are probably typing from just down the corridor from each other right now) |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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time_is_now
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« Reply #101 on: 20:52:20, 10-04-2007 » |
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I particularly like her String Quartet and Sextet, though I find her music for larger forces often somewhat unfocused.
I liked a piece called Afatsim (IIRC) which I heard Ensemble Exposé play at the Warehouse 3 or 4 years ago. Pnima is in my 'still to watch' pile, which while nowhere near as big as my 'still to listen to' pile seems to go down even more slowly, probably because I don't have a TV and don't always feel like watching DVDs on my laptop. I must get round to it soon though. Have a feeling I recently met the singer from that production? |
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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 #102 on: 21:04:25, 10-04-2007 » |
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You did, I believe, recently meet one of the four singers from that production, but her voice has seemingly been more or less obliterated from the recorded mix of Pnima for no reason I (or she) can discern.
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oliver sudden
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« Reply #103 on: 21:10:59, 10-04-2007 » |
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in this work "Latin dance music is embedded in and contrasts with a variously tonal and atonal language." Surely that's the Turangalila-Symphonie? ... I was thinking it might be Palestrina. |
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time_is_now
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« Reply #104 on: 21:15:46, 10-04-2007 » |
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Ollie, I misread that as 'I was thinking it might be Palestrina' ...
Which still seemed weirdly plausible, somehow!
Welcome back, btw. New Mac?
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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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