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ahinton
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« Reply #105 on: 12:31:33, 22-03-2008 » |
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marbleflugel, Richard and Alistair, this has nothing to do with Holliger's sexuality, it's about the basis upon which certain old and new works are programmed together.
No, I know it isn't; I think what Richard and I (and doubtless some others as well) perceive here is the unwarranted and irrelevant intrusion of some socialist-coloured herrings... |
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autoharp
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« Reply #106 on: 14:02:58, 22-03-2008 » |
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Socialist?
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ahinton
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« Reply #107 on: 14:09:28, 22-03-2008 » |
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Socialist?
Red (sorry: must stop playing on/with words) |
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oliver sudden
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« Reply #108 on: 16:47:08, 22-03-2008 » |
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(Schubert-Elton John, Schubert-arrangements of Queen songs, etc.) ...would be a complete waste of the Zehetmair Quartet's limited concert-giving time because it wouldn't be using their particular skills, which they've developed to an extent that hardly any other group has. Nothing to do with canons, quality, snobbery, sexuality, whatever. Just with people doing what they're good at. |
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stuart macrae
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« Reply #109 on: 14:12:48, 23-03-2008 » |
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I'm afraid I can't be bothered listening to the Schubert and Schumann at the moment (not two of my favourites), so I can't discuss the programming aspect - but I've just listened to the Holliger and I'm seriously impressed. This is one of the best new pieces I have heard in a long time - and a major addition to the string quartet tradition IMHO.
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time_is_now
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« Reply #110 on: 15:29:38, 23-03-2008 » |
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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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Ian Pace
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« Reply #111 on: 15:51:29, 23-03-2008 » |
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Those listed qualities may be true of the Zehetmair Quartet, but not necessarily of others (Duke, Brodsky, Smith, etc). What I'm asking is whether, if Performance on 3 in general elected to employ instead the latter types of groups and programming as their strategy for mixing old and new, whether many here wouldn't be equally unhappy as some here and more so at TOP have been about this type of programme?
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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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Ron Dough
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« Reply #112 on: 16:10:32, 23-03-2008 » |
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If at all, surely only at the dilution of modern music it might entail, Ian: a question of quantity rather than quality. I can't think of many posters (other than the mumblesford of ill-blest memory) who would be likely to moan to the point of obstreperousness about the inclusion of a Mozart quartet in an otherwise contemporary programme, even those who aren't necessarily in the first rank of Wolfiephiles.
It's the level of indignation at the fact that R3 has the temerity to broadcast anything outside their personal comfort zone which lies behind much of this whingeing, which tends to be pretty formulaic: the substitution of 'accent', 'world music' or other personal bêtes noires would reveal plenty more replication there.
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oliver sudden
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« Reply #113 on: 19:36:00, 23-03-2008 » |
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Once upon a time the Zehetmair Quartet played everything from memory (something which led to the rather horrible mistranslation I quoted a while back). I read an interview where Zehetmair was talking about moving away from that because (he said) it was in danger of becoming gimmicky. Anyone know if they played the new Holliger from the dots? The Kolisch Quartet used to play everything from memory as well of course. Which when you see the list of pieces they premiered is an eyebrow-raising thought! |
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stuart macrae
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« Reply #114 on: 19:51:27, 23-03-2008 » |
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The announcer on the radio broadcast said that they played the Holliger from the music - and sitting down so that they could read it, which is unusual for them apparently.  |
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Ron Dough
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« Reply #115 on: 23:09:55, 23-03-2008 » |
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He did, however, add that the ZQ's standard practice was still to work without dots since they felt it created a barrier between them and the audience: a point I understand well, since nearly all my work has perforce been done from memory, and on those rare occasions when I've performed with dots/script it's felt really odd. They also usually stand: on this occasion, according to Petroc (who can't have been there because he was announcing the previous day's canned concert at the time), they were seated throughout. GG should be able to confirm this....
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Turfan Fragment
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« Reply #116 on: 23:15:41, 23-03-2008 » |
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This sounds like a dumb question: does the cellist stand as well?
I know Lucas Fels has a harness to wear so he can play his cello while walking around, but don't know how typical that is.
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oliver sudden
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« Reply #117 on: 23:17:48, 23-03-2008 » |
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and sitting down so that they could read it, which is unusual for them apparently. I'm sure that was a relief for Ursula Smith. Was this chap under the impression then that the Wigmore stands are not height-adjustable? (Er, indeed, are they?) |
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Ron Dough
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« Reply #118 on: 23:32:51, 23-03-2008 » |
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The last 'standing' orchestra I saw, the cellos were exempted from the 'no seats' policy.
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