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« Reply #45 on: 18:09:47, 13-07-2007 » |
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That's nothing, Chafer. Koechlin's Chants de Nectaire for solo flute has 96 movements which total about three hours, and it's all... so... orientalist!!!!!!
Would you recommend it as a worthwhile listening experience? |
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Chafing Dish
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« Reply #46 on: 19:27:25, 13-07-2007 » |
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Too much flute OR too much Sciarrino gives me raw, chafed sinuses. Imagine what the combination does!
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richard barrett
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« Reply #47 on: 20:42:52, 13-07-2007 » |
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Would you recommend it as a worthwhile listening experience?
I can't claim to have heard very much of it. I would guess that listening to the whole thing would be difficult, since it isn't very varied (quite apart from all being for flute), certainly compared to Koechlin's orchestral music which is often quite beautiful. I don't mind a bit of Sciarrino though, especially his theatre pieces. |
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Ian Pace
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« Reply #48 on: 21:05:10, 13-07-2007 » |
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I don't mind a bit of Sciarrino though, especially his theatre pieces.
A thought - from the perspective of someone who has heard four or five representative Sciarrino pieces, say, are there any of his works anyone knows that might come as a surprise?  |
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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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Evan Johnson
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« Reply #49 on: 21:31:11, 13-07-2007 » |
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I don't mind a bit of Sciarrino though, especially his theatre pieces.
A thought - from the perspective of someone who has heard four or five representative Sciarrino pieces, say, are there any of his works anyone knows that might come as a surprise? Not a surprise, necessarily, but speaking as someone for whom a little bit of Sciarrino goes quite a ways, and not being that familiar with some of his more important theatre works, I've always been extremely, extremely impressed by Luci miei traditrici. In fact, if I had to pick an instrument for which I was most enthusiastic about extensive exposure to Sciarrino's mannerisms on said instrument, it would definitely be the voice; and the vocal writing in Luci is stunningly effective. |
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richard barrett
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« Reply #50 on: 21:45:38, 13-07-2007 » |
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Not a surprise, necessarily, but speaking as someone for whom a little bit of Sciarrino goes quite a ways, and not being that familiar with some of his more important theatre works, I've always been extremely, extremely impressed by Luci miei traditrici.
In fact, if I had to pick an instrument for which I was most enthusiastic about extensive exposure to Sciarrino's mannerisms on said instrument, it would definitely be the voice; and the vocal writing in Luci is stunningly effective.
I'm with you on that, Evan. I'm also very fond of Perseo e Andromeda which is a surprise in that it uses electronic sound instead of an instrumental ensemble. |
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Ian Pace
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« Reply #51 on: 21:52:04, 13-07-2007 » |
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Not a surprise, necessarily, but speaking as someone for whom a little bit of Sciarrino goes quite a ways, and not being that familiar with some of his more important theatre works, I've always been extremely, extremely impressed by Luci miei traditrici.
In fact, if I had to pick an instrument for which I was most enthusiastic about extensive exposure to Sciarrino's mannerisms on said instrument, it would definitely be the voice; and the vocal writing in Luci is stunningly effective.
I'm with you on that, Evan. I'm also very fond of Perseo e Andromeda which is a surprise in that it uses electronic sound instead of an instrumental ensemble. Thirded - both are some of Sciarrino's best. I suppose I'm thinking about hearing yet another Sciarrino piece that sounds just like the last 20 - do you know what I mean? |
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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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Chafing Dish
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« Reply #52 on: 23:48:12, 13-07-2007 » |
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I don't mind a bit of Sciarrino though, especially his theatre pieces.
With an emphasis on the word "bit", I agree. It's just when it's too much that I get sore inside my head. |
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increpatio
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« Reply #53 on: 23:43:35, 14-07-2007 » |
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I don't mind a bit of Sciarrino though, especially his theatre pieces.
With an emphasis on the word "bit", I agree. It's just when it's too much that I get sore inside my head. His fourth piano sonata has to be one of the funniest pieces of music I've heard in a while (I was recommending Schnittke's first symphony to someone as a masterpiece of comedy, and he said "Oh, you should listen to Sciarriano's fourth sonata", and I did, and OH MY). |
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Jonathan
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« Reply #54 on: 00:04:24, 15-07-2007 » |
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I just listened to a little section of Sciarriano's fourth sonata via Amazon and it's certainly very strange - extremely brutal would perhaps be a better description (IMHO, of course)
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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Ian Pace
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« Reply #55 on: 00:06:23, 15-07-2007 » |
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I just listened to a little section of Sciarriano's fourth sonata via Amazon and it's certainly very strange - extremely brutal would perhaps be a better description (IMHO, of course)
After one has heard the first 30 secs, I think one has got the idea!  |
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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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increpatio
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« Reply #56 on: 00:30:27, 15-07-2007 » |
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I just listened to a little section of Sciarriano's fourth sonata via Amazon and it's certainly very strange - extremely brutal would perhaps be a better description (IMHO, of course)
After one has heard the first 30 secs, I think one has got the idea! True, but for the full effect one really needs the whole ten minutes though, neh? |
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dotcommunist
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« Reply #57 on: 17:38:24, 28-07-2007 » |
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That's nothing, Chafer. Koechlin's Chants de Nectaire for solo flute has 96 movements which total about three hours, and it's all... so... orientalist!!!!!!
...and i thought that Bunita Markus' SOLO for solo flute was bad enough, totalling a mere 34:16. Apparently Feldman described her as his best student, but judging by this work ... (has anyone else had the pleasure?) ... it sounds like a piece of lobotomised Feldman not that i meant that in a nasty way or anything ...  |
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Evan Johnson
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« Reply #58 on: 17:48:18, 28-07-2007 » |
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That's nothing, Chafer. Koechlin's Chants de Nectaire for solo flute has 96 movements which total about three hours, and it's all... so... orientalist!!!!!!
...and i thought that Bunita Markus' SOLO for solo flute was bad enough, totalling a mere 34:16. Apparently Feldman described her as his best student, but judging by this work ... (has anyone else had the pleasure?) ... it sounds like a piece of lobotomised Feldman not that i meant that in a nasty way or anything ... When I was taking my doctoral exams (at the university where Feldman taught, although this was just a year and a half ago, so...) one of my tasks was to identify the composer of a series of scores. I had been warned that one of their favorite tricks was to put in a score by Barbara Monk in order to trick you into identifying it as Feldman - since not only is much of their music superficially similar but the score layout and handwriting as well! So, when presented with a score that looked like Feldman but no Feldman piece I'd ever come across, I proudly declared it to be the work of Barbara Monk, and came up with all sorts of high-falutin reasons why involving harmonic configurations that were not typical of Feldman and so forth. And then it turned out to be a highly obscure piece by, you guessed it, old Morty -- Rabbi Akiba. They double-crossed me.  But I passed anyway, you'll all be thoroughly relieved to know. |
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stuart macrae
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« Reply #59 on: 17:41:46, 28-08-2007 » |
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My first LP was Stockhausen's Trans. It has the premiere performance with lots of comedy booing and whistling on one side, then a studio recording on the other side, and this lovely image on the cover:  It's still one of my favourites. I wish I'd bought Mikrophonie and Momente at the same time, as I didn't realise they would be hard to come by at the price, and my flatmate snaffled them. I've recently bought a new turntable after years of not having one, and am currently enjoying re-stocking the shelves with bargain goodies from Oxfam and Mixed-Up Records. Good thing I don't live in London any more or the bank would be breaking, I think... |
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