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martle
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« Reply #15 on: 23:08:45, 04-05-2007 » |
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...and the beginning of Mahler 5 can segue quite nicely into the Mendelssohn Wedding March.  Aaaaaaargh!!! |
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Green. Always green.
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Ian Pace
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« Reply #16 on: 23:09:28, 04-05-2007 » |
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There's a big snare drum roll with a crescendo in the first movement of the Bartok Sonata for Two Pianos and Percussion - when playing that, one of the percussionists offered me a lot of money if I would go into 'God Save the Queen' at that point (I didn't).
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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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oliver sudden
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« Reply #17 on: 23:11:14, 04-05-2007 » |
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Speaking of which, the end-of-interval music at the Großer Sendesaal in the WDR in Köln always makes me want to burst out with "Aus Tray Lians All Eat Ostriches..."
Actually, a snare drum roll could be your cue to start Wozzeck...
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roslynmuse
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« Reply #18 on: 23:12:06, 04-05-2007 » |
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VW London Symphony - the first phrase of the Allegro in the 1st mt has one of Bill Bailey's "Have a banana" conclusions...
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oliver sudden
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« Reply #19 on: 23:18:47, 04-05-2007 » |
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I'd be reluctant to take the 'Pastoral' quote as intentional without a more persuasive reason than I've been able to think of as to why he would have wanted to do it. Most of Berg's deliberate quotations are for a very precise reason as far as I can see - the folksong in the Violin Concerto for example, or the quotation from the Schoenberg 5 Orchestral Pieces during one of the Doctor's speeches...  |
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richard barrett
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« Reply #20 on: 23:25:04, 04-05-2007 » |
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one of Bill Bailey's "Have a banana" conclusions...
For those of you who have no idea what RM is talking about, here is the information you need. http://www.youtube.com/watch?v=wvqSaQ1yijs |
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Ian Pace
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« Reply #21 on: 23:35:26, 04-05-2007 » |
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A more serious one that occurred to me today (as we've been talking about Ravel La Valse): when Ravel wrote the following:  do you think he might have had this (Chopin Mazurka Op. 41 No. 2 - incredible stuff) in mind?  |
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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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ahinton
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« Reply #22 on: 23:39:45, 04-05-2007 » |
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A more serious one that occurred to me today (as we've been talking about Ravel La Valse): when Ravel wrote the following: do you think he might have had this (Chopin Mazurka Op. 41 No. 2 - incredible stuff) in mind? Incredible stuff indeed - and what an intriguing thought! (certainly one which has never occurred to me); Ravel's respect for and love of Chopin is, of course, well, known, so the thought is arguably a tempting one - but I suppose we may never know for sure. It's perfectly possible, of course!... Best, Alistair |
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ahinton
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« Reply #23 on: 23:43:36, 04-05-2007 » |
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Whenever I hear, or play, the following (Beethoven Op. 111):  I have a feeling that this needs to follow:  Somehow the magisterial quality of the Beethoven dissipates somewhat when these thoughts come to mind! I am very glad that this is a feeling that I do not share; maybe if Marc-André Hamelin the Canadian did it just the once - after all, Op/ 111 in is is current repertoire and he's gone as far as transcribing the other masterwork for six pianos some years ago... Hmmm. Moving swiftly on ( il più presto assai, indeed)... Best, AListair |
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Ian Pace
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« Reply #24 on: 23:53:31, 04-05-2007 » |
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Incredible stuff indeed - and what an intriguing thought! (certainly one which has never occurred to me); Ravel's respect for and love of Chopin is, of course, well, known, so the thought is arguably a tempting one - but I suppose we may never know for sure. It's perfectly possible, of course!... I'll do a bit of homework on that, see if I can find anything to mention a particular interest in Chopin Mazurkas on Ravel's part (or better still, an interest in that particular one), especially around the period he was composing La Valse (which he first had the idea for in 1906, I think, it was to be called Wien, but maybe it would have been a very different piece back then). |
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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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marbleflugel
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« Reply #25 on: 00:12:49, 05-05-2007 » |
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Sinatra singing 'Love and Marriage' (aarghh, not my usual reaction to Uncle Frank)in riff of 1st mvt Walton 1,
chorus of Carmen Habanera in Shostakovich 5 (i) 2nd subject(deliberate reference pre-pre15?)...Can-can /Poet and Peasant feel in opening of Franck Symphony finale...Bernstein apparently used to do 2nd subject finale Tchaik 2 at parties as Cole Porter Beguine...
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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time_is_now
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« Reply #26 on: 00:19:26, 05-05-2007 » |
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in 1906 ... maybe it would have been a very different piece back then I'm sure Syd would think so! |
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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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Ian Pace
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« Reply #27 on: 00:22:22, 05-05-2007 » |
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The fourth movement of the Busoni Piano Concerto (All'Italiana) comes uncomfortably close to 'Nelly the Elephant' at times.
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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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Bryn
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« Reply #28 on: 00:31:12, 05-05-2007 » |
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One for the Cardew fans. Has anyone else noted the similarity between the 'tune' of Paragraph 2 of "The Great Learning" and one to which the words of the hymn "At the name of Jesus" are sung?
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time_is_now
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« Reply #29 on: 00:38:07, 05-05-2007 » |
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I've always thought this might be intentional but never seen any reference to it - 'I have a love' from West Side Story and the theme you hear a lot of near the end of Götterdämmerung (where it gains a falling seventh).
I think the Wagner one is meant to be the jinxed-love leitmotif so there's kind of a thematic connection.
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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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