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harmonyharmony
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« Reply #1620 on: 00:01:27, 24-03-2007 » |
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Right.
Time for the eyes to come out and (after a little more dynamics are added to my score) time for bed.
Night all.
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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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Tony Watson
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« Reply #1621 on: 00:12:36, 24-03-2007 » |
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Some recent postings have been like a trip down memory lane for me here. Timkens was the local industry when I went to school in Daventry, Northants. I had a holiday at Butlins, Filey, in 1964 and when I was in the pub this evening, there was a certain Mr Hoseason, who is related to the holiday firm.
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Ian Pace
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« Reply #1622 on: 00:18:08, 24-03-2007 » |
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Some recent postings have been like a trip down memory lane for me here. Timkens was the local industry when I went to school in Daventry, Northants. I had a holiday at Butlins, Filey, in 1964 and when I was in the pub this evening, there was a certain Mr Hoseason, who is related to the holiday firm.
You've really lived, Tony! (I owe you a few curries and plenty of pints from 21 years ago - you HAVE to come down to the smoke sometime soon, also so we can make another communal meet from the boards happen) |
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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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Ian Pace
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« Reply #1623 on: 00:19:27, 24-03-2007 » |
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(still feel the need to call you 'Mr Watson' rather than Tony, by the way)
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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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Tony Watson
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« Reply #1624 on: 00:30:04, 24-03-2007 » |
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You don't owe me anything, Ian! They were fascinating days (do you remember when a stray cat gave birth underneath the classroom and fed its young on captured rats, and when you got hold of a Commodore 64 computer and experimented with the sound-making capabilities?). Yes, I must get down to London and we'll have a get together with some of the others here for a couple of pints and maybe a curry.
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Ian Pace
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« Reply #1625 on: 00:45:06, 24-03-2007 » |
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You don't owe me anything, Ian! They were fascinating days (do you remember when a stray cat gave birth underneath the classroom and fed its young on captured rats, and when you got hold of a Commodore 64 computer and experimented with the sound-making capabilities?). Yes, I must get down to London and we'll have a get together with some of the others here for a couple of pints and maybe a curry.
Sure do remember - those were the days (and nostalgia isn't what it used to be). Incidentally, did you apprise Mr Hoseason (after several pints) of the immortality of the music associated with his relatives? |
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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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Tony Watson
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« Reply #1626 on: 15:29:10, 24-03-2007 » |
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Incidentally, did you apprise Mr Hoseason (after several pints) of the immortality of the music associated with his relatives?
Unfortunately not, as it usually takes me all my efforts to stop him talking about Lib Dem politics, but next time I see him I will. I was trying to persuade someone else to get broadband and join our little community. He's played with John Lill and the Skampa Quartet and he's going to be playing with Martin Roscoe so I think he'll be an interesting addition. But that's where I heard the anecdote about Peter Warlock riding a bicycle in the nude (see the Shostakovich thread). It's just occured to me that I hope it wasn't a tandem. |
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George Garnett
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« Reply #1628 on: 20:16:32, 24-03-2007 » |
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But that's where I heard the anecdote about Peter Warlock riding a bicycle in the nude (see the Shostakovich thread). It was the intriguing detail that he rode the bicycle nude only in parts of Cornwall that got me. I couldn't help wondering what local factors (topography? bumpiness of the road surfaces? prevalence of hedges? broad-mindeness of the natives?) made the crucial difference. |
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« Last Edit: 20:19:02, 24-03-2007 by George Garnett »
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SimonSagt!
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« Reply #1629 on: 22:18:02, 24-03-2007 » |
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I hope he rode naked in Bude, at least. As a courtesy to future limerick writers, if nothing else.  |
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The Emperor suspected they were right. But he dared not stop and so on he walked, more proudly than ever. And his courtiers behind him held high the train... that wasn't there at all.
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trained-pianist
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« Reply #1630 on: 22:28:32, 24-03-2007 » |
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I think there is nothing better than going to a museum in the nude, though one could be arrested for public disturbance.  |
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Tony Watson
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« Reply #1631 on: 00:20:41, 25-03-2007 » |
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All this talk of nude composers!
Does anyone remember a Dutch film produced in 1991 to commemorate Mozart's death, called Not Mozart (I think)? It was on television and it involved someone running around in the nude, for some reason.
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harmonyharmony
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« Reply #1632 on: 00:34:50, 25-03-2007 » |
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Oh dear.
Starting to sober up.
Time for bed.
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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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Charles T.
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« Reply #1633 on: 00:41:46, 25-03-2007 » |
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I think there is nothing better than going to a museum in the nude, though one could be arrested for public disturbance. Obviously a Dutch museum. Wonder why they are wearing shoes? Don't have a clue. |
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harmonyharmony
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« Reply #1634 on: 00:43:36, 25-03-2007 » |
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Could be something to do with the floor.
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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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