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The Radio 3 Boards > General Chat > The Coffee Bar > New Musical Connections
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Author Topic: New Musical Connections  (Read 119925 times)
oliver sudden
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« Reply #150 on: 20:27:40, 12-02-2007 »
VW Sea Symphony takes its text from Whitman Leaves of Grass... or if you prefer, "Your hands lie open in the long fresh grass" from Silent Noon
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oliver sudden
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« Reply #151 on: 20:29:24, 12-02-2007 »
'...William Penn was Cascarino's "personal obsession."

"Later in his life, he talked about struggling for years to get the right emotional feeling. After writing the farewell scene in which Penn leaves for America, he was so drained emotionally it took him two years before he could write the next scene," says Di Nardo.'

Oh dear...  Wink
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Il Grande Inquisitor
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« Reply #152 on: 20:30:05, 12-02-2007 »

        
                

Nicely done, everyone! It was 'Silent Noon' I was thinking of for the VW:

Brahms - German Requiem: For All Flesh is as Grass
Walton – Façade: Long Steel Grass
Tchaikovsky - Was I not a little blade of grass?
Vaughan Williams - Silent Noon ‘Your hands lie open in the long fresh grass’
Romeo Cascarino - Blades of Grass
« Last Edit: 20:32:55, 12-02-2007 by Il Grande Inquisitor » Logged
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
Ian Pace
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« Reply #153 on: 22:30:35, 12-02-2007 »
Quote from: Il Grande Inquisitor on 17:23:04, 12-02-2007
Quote from: Ian Pace on 13:04:43, 12-02-2007
roslynmuse and Il Grand Inquistor are very close, would just like a list of the four pieces in question (and, where a piece consists of a cycle, the specific chapter(s)), and the reference in question.

Ok, Ian, this is a tough one. Here are my answers as fully as I can find them (having little or no German made researching the Schnebel tricky)  Shocked

Ives – Piano Sonata No.2, Concord (each movement quotes the opening bars of Beethoven’s 5th Symphony)

Walter Murphy - "A Fifth of Beethoven"  - disco version of Beethoven's Fifth Symphony

Finnissy - History of Photography in Sound – Concert 2: Capitalist realism (with Sicilian male nudes and Bachian paraphrases) quotes Beethoven’s 5th Symphony as well as String Quartet Op.18 No.5 and Piano Sonata Op.10 No.1

Dieter Schnebel - Beethoven Symphony (1985) (Re-Visionen I, no. 2) for percussion and chamber ensemble...no idea which piece of Beethoven it quotes, but as the others quote the 5th, I’ll go with that one as the link.

Fingers crossed!!



Exactly right!

Here is Philip Brett on the Walter Murphy rendition:

'even the opening of Beethoven's Fifth Symphony, that quintessential model of heroic masculinity, met its gay destiny when, tricked out with a heavy beat and other accoutrements, it hit the Disco scene in the 1970s as ‘A Fifth of Beethoven’. '

(from the unedited Grove entry on Lesbian and Gay Music, at http://www.rem.ufpr.br/REMv7/Brett_Wood/Brett_and_Wood.html )

Any thoughts on this (do any gay posters here agree)?
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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'
Il Grande Inquisitor
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« Reply #154 on: 23:00:12, 12-02-2007 »
A new quartet for you:

Dvorak
Saint-Saëns
Liszt
Sibelius
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
mahlerei
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« Reply #155 on: 23:26:33, 12-02-2007 »
Bells?

Saint-Saens:Les Cloches du soir
Dvorak: Bells of Zlonice
Sibelius: tba
Liszt Les cloches de Geneve
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Il Grande Inquisitor
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« Reply #156 on: 23:34:52, 12-02-2007 »
This one doesn't ring any bells....pretty certain we did those at the other place.
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
mahlerei
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« Reply #157 on: 00:59:54, 13-02-2007 »
Prayers?

Dvorak: Hear my prayer (Biblical Songs Op 99)
Saint-Saëns: Prière
Liszt: Prière d'un enfant à son reveil
Sibelius: Prayer for unity
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Il Grande Inquisitor
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« Reply #158 on: 01:11:26, 13-02-2007 »
Quote from: mahlerei on 00:59:54, 13-02-2007
Prayers?


No need to kneel before the Inquisition, Dan, there's not a prayer to be had here!  Shocked
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
Mary Chambers
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« Reply #159 on: 11:12:47, 13-02-2007 »
Fire is involved in all these:

Dvorak, The Charcoal Burner

Sibelius, The Origin of Fire

Saint-Saens, Le Feu Celeste

LIszt, Jeanne d'Arc au Bucher

I haven't been doing these brain-teasers for very long and so I don't know how exact the connections have to be. Do they all have to contain the same word - e.g. fire? Nor do I know what you did on the other board.

Or ghosts?
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mahlerei
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« Reply #160 on: 12:06:20, 13-02-2007 »
Spinning wheels?

Dvorak: The Golden Spinning Wheel
Saint-Saëns: Le rouet d'Omphale
Liszt: Spinning Song (transcribed from The Flying Dutchman)
Sibelius: Melisande and the spinning wheel
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Il Grande Inquisitor
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« Reply #161 on: 12:14:36, 13-02-2007 »


I very much liked Mary's suggestion of fire, but Dan's got it absolutely correct by identifying spinning wheels as the link.

Mary, usually the link is a word common to all the titles, but it can be more obscure. Not long ago, each piece had a word/name which connected it to a London Underground Station! (One of my more fiendish ones for which thumbscrews were nearly required!)
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
mahlerei
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« Reply #162 on: 12:26:58, 13-02-2007 »
Okay, crack this:

Schoenberg
Nyman
RVW
Grainger
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Ian Pace
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« Reply #163 on: 12:55:47, 13-02-2007 »
Gardens:

Schoenberg - Das Buch der hängenden Gärten
Grainger - Country Gardens
RVW - Duet - 'Blue larkspur in a garden' from Poisoned Kiss
Nyman - The garden is becoming a robe room (from The Draughtsman's Contract)
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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'
Ian Pace
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« Reply #164 on: 13:03:39, 13-02-2007 »
Try this one:

Machaut
Schumann
Tippett
Finnissy
Janis Joplin
Red Hot Chilli Peppers
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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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