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Tantris
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« Reply #120 on: 18:32:56, 25-05-2007 » |
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I made it to a concert at the Gare du Nord last weekend by the Basel Hochschuule fur Neue Musik, featuring Tristan Murail, Messiaen (Oiseaux Exotiques), Varese (Integrales) and Partiels from Grisey's Les Espaces Acoustiques.
It was excellent - well-judged, committed performances. Moritz Ernst was the pianist in the Messiaen, and his playing was dynamic and assured - someone to watch out for, I'm sure - although I did feel that his playing was possibly too demonstrative (rather like Anatol Ugorski's approach to the Catalogue d'Oiseaux, for example. His encore of part of L'Ile du Feu (I think) was very well played. The Varese was played very well, but the really outstanding piece was Grisey's Partiels, which I had not heard before, and which is both fascinating and witty. I must track down a recording, if one does indeed exist.
The only (minor) grip was the acoustics - in a relatively small place, the wind instruments in both the Messiaen and Varese could be really ear-piercing - perhaps some acoustic damping would help in this regard.
There is a concert of Nono next month which I am also hoping to make. It's great to have such a venue on one's doorstep.
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richard barrett
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« Reply #121 on: 19:06:08, 25-05-2007 » |
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Grisey's Partiels, which I had not heard before, and which is both fascinating and witty. I must track down a recording, if one does indeed exist. There are two, in fact:   The only (minor) grip was the acoustics - in a relatively small place, the wind instruments in both the Messiaen and Varese could be really ear-piercing You're telling me! |
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time_is_now
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« Reply #122 on: 19:31:58, 25-05-2007 » |
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Grisey's Partiels, which I had not heard before, and which is both fascinating and witty. I must track down a recording, if one does indeed exist. There are two, in fact: The first of those is the one to go for, though NB it now has a different cover: see http://www.amazon.co.uk/Grisey-Espaces-acoustiques-Gerard/dp/B00004VMCL/ref=sr_1_2/026-0987045-7060452?ie=UTF8&s=music&qid=1180117768&sr=8-2The second has a lot of mistakes, I'm told, though even without following a score I can hear that it's lacking in fire. All IMHO (and a couple of friends' who know about these things), of course.  |
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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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richard barrett
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« Reply #123 on: 20:20:57, 25-05-2007 » |
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That's very interesting. I only have the one on the left, and assumed for some reason that the Asbury version (which I haven't heard) might have benefitted from having a single conductor throughout (and what on paper looks like a better lineup), but I'll save my cash. |
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time_is_now
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« Reply #124 on: 20:26:46, 25-05-2007 » |
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I only have the one on the left, and assumed for some reason that the Asbury version (which I haven't heard) might have benefitted from having a single conductor throughout (and what on paper looks like a better lineup) Yes, that's what I initially imagined too (on both counts). Interesting! |
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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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Tantris
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« Reply #125 on: 07:33:56, 26-05-2007 » |
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Thanks for the links! Duly ordered.
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xyzzzz__
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« Reply #126 on: 09:31:15, 26-05-2007 » |
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"It's great to have such a venue on one's doorstep." i r jealous! I like Quatre Chants quite a bit - here is another discussion of Grisey's music (w/bits on other spectral music) |
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time_is_now
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« Reply #127 on: 09:20:43, 29-05-2007 » |
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And here's an excellent interview with Grisey in which he talks extensively about how his music relates to different ways of experiencing time (time_is_now? ). |
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« Last Edit: 13:33:22, 29-05-2007 by time_is_now »
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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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Tantris
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« Reply #128 on: 16:02:48, 23-06-2007 » |
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I've been listening to the Cambreling / Valade recording over the last few days and would thoroughly recommend it - it is very beautiful music. At a complete tangent, I'd also recommend Anthony Braxton's piano music, played by Hildegaard Kleeb. |
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« Last Edit: 16:05:49, 23-06-2007 by Tantris »
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dotcommunist
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« Reply #129 on: 12:56:11, 14-07-2007 » |
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Hi,
i also went to the barrett performance earlier on this year, i was at the premier.
i know ensemble phoenix (i've been to a number of their concerts at the gare du nord, -basel is only 40 minutes away from freiburg, and sometimes i could use the break) and worked with a few of the players in other projects.
- an ensemble that hardly anyone knows in england, this is a shame! under the conductorship of jorg henneberger, they have come to be a permanent fixture at the gare du nord, with their own seasonal program: this ensemble are just excellent (in my most humblest of opinions), i couldn't (yet) fault any of the players; apparently jorg henneberger plays the piano extremely well, he learns the pieces thoroughly , hears pretty much everything and rehearses imaginatively. a good model for any new music ensemble.
although i was very impressed with the piece, the sound world, the tying up of the celan themes (as much as i could grasp), and the playing, there was a video that run at periodic moments during the whole, underneath the screen, on a podium, was an actor, a famous swiss actor apparently, sitting at a desk being an inarticulate 'celan'. i liked the video : black and white images of empty landscapes and long shots of a river's edge, i didn't quite get on with the theatrical aspect. i don' t know how much of that was from the composer or from a director???
however, overall a night to remember!!
does somebody here also live near the gare du nord???
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richard barrett
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« Reply #130 on: 19:05:01, 14-07-2007 » |
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how much of that was from the composer none! I arrived a couple of days before the premiere and had no idea what the visual/theatrical aspect would be (very different from the original performances in Perth which involved an extensive installation and (different) projections but no acting). I was a bit disconcerted at first by the way the music comes twice to a standstill to make time for the actor's interjections, but I got used to it. I can see how the piece might be realised theatrically in numerous different ways, but my personal favourite Opening of the Mouth of all was in 1998 in Brussels with Elision, which was a concert performance only. Plans appear to be afoot to bring it to the UK next year... |
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harmonyharmony
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« Reply #131 on: 19:27:34, 14-07-2007 » |
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Plans appear to be afoot to bring it to the UK next year... REJOICE!  OK, it's a bit OTT, but I really love this piece and the chance of hearing it in the UK is a thing to be cherished. |
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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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dotcommunist
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« Reply #132 on: 20:37:07, 14-07-2007 » |
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Plans appear to be afoot to bring it to the UK next year... REJOICE! excellent news ! would this be with phoenix or elision, and you wouldn't happen to know approximately where - or should this be kept quiet until it's officially scheduled??? would have loved to have been there in brussels for the pure concert version, the installation with inszenierung thing is certainly fine, though when hearing a music where each moment is originally designed to be concentratedly followed, i was forced to wander about for fear i'd missed something important. not that i find myself too distracted by the attention calling character of each medial layer, it was the background suspicion that all authors concerned perhaps didn't consult in interacting these layers  which seems to have been the case. for me it was certainly 'in the air', but to be fair, this could be due to other factors like it being the first night, and being tricky enough to have gotten it to the stage it had reached. (i missed further performances). having said that, in general i prefer it when an artwork is difficult, taxing and strenuous (often rarely experienced) and i enjoy, or likewise enjoyed with OOTM, the journey involved. viva the next performance! |
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richard barrett
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« Reply #133 on: 22:00:47, 14-07-2007 » |
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would this be with phoenix or elision, and you wouldn't happen to know approximately where - or should this be kept quiet I can't really say anything at this point, but thanks for your and HH's supportive words. I should also second the recommendation of Ensemble Phoenix and Jürg Henneberger. I was extremely impressed by their work, especially given that they hadn't had their performing material for very long and in most cases hadn't played anything of mine before. |
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