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oliver sudden
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« Reply #901 on: 23:35:41, 29-02-2008 » |
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A further clue to the elusive 168...the composer died within the past two years.
Am a bit embarrassed not to have got this sooner: it's the second movement ( Allegro vivace) of György Ligeti's Concert Românesc (1951). That's correct, opilec. I'm a bit surprised other members didn't spot it was Ligeti sooner. Speaking for ourselves if it had sounded anything like him we probably would have. But it doesn't.  |
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Ron Dough
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« Reply #902 on: 23:40:00, 29-02-2008 » |
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Whereas we're all pretty sure it's Glass, but there's one heck of a lot of it, much of which is all but identical to pretty much of the rest of it....  |
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thompson1780
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« Reply #903 on: 00:19:10, 01-03-2008 » |
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Sorry to leave you so shortly after posting 195-197, but I need to go to pumpkins.
Night all
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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richard barrett
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« Reply #904 on: 01:18:51, 01-03-2008 » |
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The Brahms reminded me of the following encomium by Vernon Blackburn in the Pall Mall Gazette, 28/2/1900, as quoted by Slonimsky: The Brahms Sextet is a work built upon dry as dust elements. It is one of those odd compositions which at times slipped from the pen of Brahms, apparently in order to prove how excellent a mathematician he might have become, but how prosaic, how hopeless, how unfeeling, how unemotional, how arid a musician he really was. You feel a an undercurrent of surds (a quantity not capable of being expressed in rational numbers) of quadratic equations, of hyperbolic curves, of the dynamics of a particle. But it must not be forgotten that music is not only a science; it is also an art. The Sextet was played with precision, and that is the only way in which you can work out a problem in musical trigonometry. Removing the words "Brahms" and "Sextet" and replacing them by, say, "Stockhausen" and "Klavierstück" respectively, and adding in a few typos, you'd have a typical TOP post! |
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Ian Pace
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« Reply #905 on: 01:27:39, 01-03-2008 » |
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The Brahms reminded me of the following encomium by Vernon Blackburn in the Pall Mall Gazette, 28/2/1900, as quoted by Slonimsky: The Brahms Sextet is a work built upon dry as dust elements. It is one of those odd compositions which at times slipped from the pen of Brahms, apparently in order to prove how excellent a mathematician he might have become, but how prosaic, how hopeless, how unfeeling, how unemotional, how arid a musician he really was. You feel a an undercurrent of surds (a quantity not capable of being expressed in rational numbers) of quadratic equations, of hyperbolic curves, of the dynamics of a particle. But it must not be forgotten that music is not only a science; it is also an art. The Sextet was played with precision, and that is the only way in which you can work out a problem in musical trigonometry. That probably says more about a very particular type of performance of that Brahms work than how Brahms probably envisaged it. |
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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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Antheil
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« Reply #906 on: 01:36:11, 01-03-2008 » |
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Oh Ratz and Double Buglared Ratz!!!
Bryn's Glass - Been away from puter all evening - the one Puzzle I knew instantaneously - Dance 1 to 5 - and got beaten to it by a guess from Richard.
Oh Poo!
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Reality, sa molesworth 2, is so sordid it makes me shudder
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richard barrett
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« Reply #907 on: 01:48:24, 01-03-2008 » |
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That probably says more about a very particular type of performance of that Brahms work than how Brahms probably envisaged it.
It says more about the critic than either. |
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richard barrett
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« Reply #908 on: 01:55:02, 01-03-2008 » |
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Oh Poo!
It may have been a guess but I did come by it honestly, having excluded all the other PG Ensemble pieces on the basis of being acquainted with them.  |
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Antheil
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« Reply #909 on: 02:04:41, 01-03-2008 » |
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It's OK Richard - just that I am on Nul Points at the mo and can't be expected to stand by the puter until someone posts something I know off by heart! Lyrics are interesting though - if you live in the Waste Midlands and are into solfage Bryn knows to what I refer! Of course, I have had to put it on and be driven daft by it at this unearthly hour in the morning (drowns out the sound of the gales though) p.s. It was Bryn that introduced me to Glass, whether that is a good or bad thing I am not sure |
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« Last Edit: 02:19:38, 01-03-2008 by Antheil the Termite Lover »
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Bryn
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« Reply #910 on: 07:38:13, 01-03-2008 » |
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It's OK Richard - just that I am on Nul Points at the mo and can't be expected to stand by the puter until someone posts something I know off by heart! Lyrics are interesting though - if you live in the Waste Midlands and are into solfage Bryn knows to what I refer! Of course, I have had to put it on and be driven daft by it at this unearthly hour in the morning (drowns out the sound of the gales though) p.s. It was Bryn that introduced me to Glass, whether that is a good or bad thing I am not sure See my response to richards equivocal edging towards a solution, recently posted. You are still in with a chance if you can identify the work featured. Should my assertion that Dance Nos 1-5 constitutes a collection, rather than a single work be challenged, I would remind any such challenger that Dance No. 2, for instance, originated as the piece "Fourth Series Part Two". |
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Bryn
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« Reply #911 on: 08:27:50, 01-03-2008 » |
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197 - Vaughan Williams? Don't know that work. Who's it by? |
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thompson1780
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« Reply #912 on: 08:28:23, 01-03-2008 » |
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And Tommo's nodded off, leaving the maddeningly familiar 197 hanging: those harmonies have a Finzi-esque tone to them, and my memory wants to put a solo instrument in there with the strings. The Clarinet Concerto?
Not Finzi. Sorry. Mr 1780 Not clarinet either. But Ron, you are absolutely accurate on everything else, and right country for the composer too. Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Sydney Grew
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« Reply #914 on: 09:54:38, 01-03-2008 » |
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Rochberg (mentioned in the other thread) seems to have been a pretty good composer does he not?
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« Last Edit: 09:57:20, 01-03-2008 by Sydney Grew »
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