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SusanDoris
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« Reply #45 on: 20:03:37, 21-11-2007 » |
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Donna Elvira
In the OP you mention accents. é is - press/hold right Alt and type e.
èI do by opening a new document, press L Ctrl+` key (which is below Esc on my keyboard) then e.
Highlight, copy and paste here! Rather a long-winded way of doing it and I know there are NP codes for accents.
Very interesting reading about composers which people don't like. I've 'forced' myself to listen to Benjamin Britten recently and occasionally, particularly if I didn't know what it was until it finished, I've really enjoyed some. I did not, however, make a note!
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Reiner Torheit
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« Reply #46 on: 20:20:29, 21-11-2007 » |
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Donna Elvira I've 'forced' myself to listen to Benjamin Britten recently and occasionally, particularly if I didn't know what it was until it finished, I've really enjoyed some. I did not, however, make a note!
I even went all the way to Paris to hear Brahms's German Requiem, which I think shows extraordinary diligence in exorcising one's musical unfavourites... especially as we had to trek for bloody miles in the rain to the concert due to the Metro strike! And I even mostly enjoyed the performance, too  |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Donna Elvira
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« Reply #47 on: 08:22:49, 22-11-2007 » |
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Thank you, Susan - very helpful.
I'm impressed, Herr Torheit! I'd definitely travel a long way for Brahms's Requiem but because I love it!
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autoharp
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« Reply #48 on: 05:33:47, 23-11-2007 » |
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NIELSEN
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C Dish
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« Reply #49 on: 14:12:44, 23-11-2007 » |
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I'm impressed, Herr Torheit! I'm less impressed than simply envious. |
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inert fig here
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increpatio
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« Reply #50 on: 15:15:40, 23-11-2007 » |
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NIELSEN
My standard response to this is "Even the clarinet concerto?" |
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roslynmuse
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« Reply #51 on: 19:19:00, 23-11-2007 » |
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Oooh - ESPECIALLY the clarinet concerto, sorry... it always makes me feel as though I'm listening to a piece that someone dropped and hastily stuck back together with some bits missing and others back to front and the glue all stringy and...
my loss, I know (so I have been told by the many people I know who admire it.)
And I really do KNOW the piece too, I've played it (the orchestral reduction) many times, even with a side-drum (and player) at my side...
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martle
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« Reply #52 on: 19:24:59, 23-11-2007 » |
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Ok, my name is martle and I'm a Bruckner-yawner. I need help. I know I'm not alone, but I also know that there are those here who've 'made it to the other side'. All helpful suggestions for ways into this seemingly grey, turgid morrass of navel-gazing very gratefully received.  |
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Green. Always green.
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Andy D
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« Reply #53 on: 20:27:57, 23-11-2007 » |
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Bruckner? Sorry Martle, I can't help. I've tried really hard, went to a series of lectures given by a Bruckner enthusiast and, while they did get me listening to his music and looking at the scores, I haven't gone near him since.  |
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martle
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« Reply #54 on: 20:35:04, 23-11-2007 » |
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Green. Always green.
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richard barrett
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« Reply #55 on: 16:58:37, 06-12-2007 » |
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Ok, my name is martle and I'm a Bruckner-yawner. I need help. I know I'm not alone, but I also know that there are those here who've 'made it to the other side'. All helpful suggestions for ways into this seemingly grey, turgid morrass of navel-gazing very gratefully received. I would love to help, but I don't know if I really can because I've liked that music since I first heard it so I've never seen what the problem is. I find the scale of it attractive, the way it refuses to conform to other people's idea of how long it should take for music to do something. Now while my favourite of the symphonies by some distance is the 8th, I have a funny inexplicable feeling that the first movement of the 6th might be relatively Martle-friendly. However, neither of the recordings I have (Celi and Klemperer) really does the piece the way I'd like to hear it, which would be with more emphasis on its counterpoint of rhythms. Regular readers will know the identity of my Mental Block Number One. I'm grateful to Ollie for his valiant recent efforts to rid me of another one (Poulenc) but I'm sorry to report that they were unsuccessful. |
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oliver sudden
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« Reply #56 on: 22:06:19, 06-12-2007 » |
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OK, time I came out with this one:
Ligeti.
Of course I play his stuff from time to time (not as though I have any choice). And each time I try to rustle up some genuine enthusiasm for it. And each time no dice.
I'm playing the (clarinet and ocarina part of the) piano concerto on the weekend in Berlin and Hamburg. If anyone could somehow tell me what I've been missing all this time I'd be grateful. But I warn you, it won't be easy.
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« Last Edit: 22:09:42, 06-12-2007 by oliver sudden »
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oliver sudden
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« Reply #57 on: 22:12:55, 06-12-2007 » |
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Richard, Poulenc, damn. (I've just put on Figure humaine to cleanse my ears and soul after overexposure to the aforementioned Magyar.)
Maybe you really do have to be an out-and-out Francophile for that one.
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Donna Elvira
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« Reply #58 on: 07:37:13, 07-12-2007 » |
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I can't say that I'm a world expert on Poulenc (or anything else, come to mention it) but one work of his which really does it for me is Dialogues des Carmelites. It's absolutely amazing. Give it a whirl! I quite like the Poulenc Gloria as well.
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martle
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« Reply #59 on: 09:22:23, 07-12-2007 » |
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Ok, my name is martle and I'm a Bruckner-yawner. I need help. I know I'm not alone, but I also know that there are those here who've 'made it to the other side'. All helpful suggestions for ways into this seemingly grey, turgid morrass of navel-gazing very gratefully received. I find the scale of it attractive, the way it refuses to conform to other people's idea of how long it should take for music to do something. Richard, I've long thought that it's precisely that matter of scale and proportion that would be the key for me. Thank you. I'll try again with that in mind. |
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Green. Always green.
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