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harmonyharmony
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« on: 13:40:14, 14-09-2008 » |
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Syd's recent post got me thinking that I haven't been listening to H&N lately so perhaps I had better. Rather minimalist listings for last night's programme: Alwynne Pritchard presents new German music for voices and for piano.
Including:
Dieter Schnebel: Motetus I
Wolfgang Rihm: Quo me rapis
BBC Singers
Celso Antunes (conductor)
Pintscher: On a Clear Day
Mark Knoop (piano)
Jurg Baur: Die Blume des Scharon
BBC Singers
Celso Antunes (conductor).
I haven't listened yet but I'll get round to it shortly. The prospect of more Rihm in my life fills me full of joy. |
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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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MT Wessel
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« Reply #1 on: 14:14:06, 14-09-2008 » |
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Cheers hh. Methinks I'll 'ave a butchers at it sometime tonight ..  |
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lignum crucis arbour scientiae
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oliver sudden
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« Reply #2 on: 14:45:50, 14-09-2008 » |
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Syd's recent post got me thinking that I haven't been listening to H&N lately so perhaps I had better. Rather minimalist listings for last night's programme: Alwynne Pritchard presents new German music for voices and for piano.
Including:
Dieter Schnebel: Motetus I
Wolfgang Rihm: Quo me rapis
BBC Singers
Celso Antunes (conductor)
Pintscher: On a Clear Day
Mark Knoop (piano)
Jurg Baur: Die Blume des Scharon
BBC Singers
Celso Antunes (conductor).
I haven't listened yet but I'll get round to it shortly. The prospect of more Rihm in my life fills me full of joy. Well. Your life must be a very joyful thing then. If there's one thing you can definitely say about Rihm it's that there's a lot of it! Doing a 'new' piece of his in Berlin next week. (The first half is the same as a piece we played in Dresden last year, the second half has a heck of a lot of the first part repeated in it and I think is also taken from an opera.) My part has well over 30 pages. I play a collection of slap-tongued notes (with different dynamics but much the same rhythms) 13 times. The whole thing goes a bit under an hour... |
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harmonyharmony
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« Reply #3 on: 14:48:46, 14-09-2008 » |
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Well. Your life must be a very joyful thing then. If there's one thing you can definitely say about Rihm it's that there's a lot of it!
Doing a 'new' piece of his in Berlin next week. (The first half is the same as a piece we played in Dresden last year, the second half has a heck of a lot of the first part repeated in it and I think is also taken from an opera.) My part has well over 30 pages. I play a collection of slap-tongued notes (with different dynamics but much the same rhythms) 13 times. The whole thing goes a bit under an hour...
OH THAT SOUNDS WONDERFUL! HOW INVENTIVE OF HIM! The whole things goes on a bit. It does, doesn't it? And so many effing notes. Is he afraid that people won't hear them the first time, or is it like some kind of mad musical embroidery like the borders of a Wölfli drawing? |
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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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harmonyharmony
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« Reply #4 on: 15:10:52, 14-09-2008 » |
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sorry.
got a bit carried away there.
i'm sure that there are lots of people who get a lot out of rihm's music.
i, unfortunately for me, am no longer one of those people.
for now (mwahahahahahaha).
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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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oliver sudden
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« Reply #5 on: 15:49:42, 14-09-2008 » |
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sorry.
got a bit carried away there.
i'm sure that there are lots of people who get a lot out of rihm's music.
i, unfortunately for me, am no longer one of those people.
for now (mwahahahahahaha).
Hm. I'd missed your sarcasm the first time. How did that happen? I've got a reasonable amount of money out of Rihm's music over the years. And I know that Rebecca Saunders whose music I certainly love still has plenty of time for him. (Well you'd need to, it all goes on so damn long, sorry, that just slipped out.) Chiffre IV is very nice. Not too long, mostly pretty quiet and the sounds mix nicely with each other. Chiffre I is also rather fine in a jolly chugging sort of way and while occasionally enjoyably crass stays just the right side of overdone I think. I'm sure there are some other things that are also very fine but I've not as yet found his strike rate quite high enough to justify extensive further exploration... |
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time_is_now
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« Reply #6 on: 15:52:04, 14-09-2008 » |
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The words monkey, photocopier typewriter and overfed come to mind.
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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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oliver sudden
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« Reply #7 on: 15:55:17, 14-09-2008 » |
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The words monkey, photocopier typewriter and overfed come to mind.
Last I saw it, the score of Nachschrift consisted of the score of Chiffre I with extra staves added underneath. (Or was it on top?) True to the title I suppose, but all the same... |
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harmonyharmony
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« Reply #8 on: 16:31:38, 14-09-2008 » |
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Initial thoughts on this broadcast:
I didn't really like the Schnebel. Which disappoints me. I had been looking forward to hearing more of his music but this eclectic light mish-mash didn't hit the spot.
Some obvious clichés and knowing winks. Yuck.
The Rihm's quite nice. [thud]
There's a bit too much of it (in terms of density) for my taste - I'd like to strip it down a layer or two harmonically - and it doesn't seem to know when to stop (but then that goes for his entire output as far as I know, but I like the way it comes and goes.
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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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harmonyharmony
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« Reply #9 on: 18:05:22, 14-09-2008 » |
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The Pintscher was quite pretty but I don't think I was listening all that hard. It'll have to go on again.
I don't think that the Baur worked well at all in these surroundings. It seemed overly long and overly liturgical to compete with the other pieces. That may seem like a strange thing to say (especially given the Schnebel) but, while I felt that both the Schnebel and the Rihm worked 'out of context' of their sacred settings, the Baur was very much dependant on what you might call 'liturgical listening' (I have no problems with pieces that are written for this context btw).
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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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Tantris
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« Reply #10 on: 08:22:56, 17-09-2008 » |
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Doing a 'new' piece of his in Berlin next week. (The first half is the same as a piece we played in Dresden last year, the second half has a heck of a lot of the first part repeated in it and I think is also taken from an opera.) My part has well over 30 pages. I play a collection of slap-tongued notes (with different dynamics but much the same rhythms) 13 times. The whole thing goes a bit under an hour...
It's not Concerto Séraphin, by any chance? (That's being broadcast this Thursday on a Deutschland Kulturradio, along with some Stockhausen and Lachenmann.) |
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oliver sudden
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« Reply #11 on: 11:29:27, 17-09-2008 » |
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That is the very one and as you can see the hall where we've just done the dress rehearsal has wireless internet.  |
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Tantris
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« Reply #12 on: 12:47:12, 17-09-2008 » |
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OK - it is on my list of radio programmes to record, so please let me know if you would like a recording of it at some time (assuming equipment or memory doesn't fail).
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mr improv
Posts: 80
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« Reply #13 on: 16:41:53, 17-09-2008 » |
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i dunno you cats
i mean i know very little about this stuff
but hear and now is getting me down
it all sounds so BLAND to me
and not new
i wonder too sometimes if the contemporary music scene isnt suffering from the same problem as contemporary visual arts
in that the focus is on whatever loveys are currently speaking the hegemonic tongue and not on quality irrrespective of
how completely 'contemporary' it is???
maybe you guys would be a bit more in the know
and could let me know what this music is doing
that warrants it being on here and now instead of performence on three with all the other classical music?
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oliver sudden
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« Reply #14 on: 18:31:15, 17-09-2008 » |
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it all sounds so BLAND to me
and not new
i wonder too sometimes if the contemporary music scene isnt suffering from the same problem as contemporary visual arts
in that the focus is on whatever loveys are currently speaking the hegemonic tongue and not on quality irrrespective of
how completely 'contemporary' it is??? Well the thing is is not it that the whole thing has become progressively more institutionalised in the previous few decades to the point where while there's lots of stuff coming to public attention and a reasonably active scene and a bit of money for it here and there and persons such as I without an enormous amount of imagination or talent can make a living from it ON THE OTHER HAND most of the adventure and dare we suggest meaning has been squeezed out of it to make room for the money and the safe jobs. That may or may not have been the answer you were looking for... |
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