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richard barrett
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« Reply #3240 on: 01:06:39, 12-08-2008 » |
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Hans-Joachim Hespos, music for a reconstruction (1977) of Oskar Schlemmer's Triadisches Ballett (1922). This music, for an ensemble of winds and percussion, is typical Hespos: many long, quiet, tension-filled stretches of stillness, many unexpected wild outbursts, nothing that relates even negatively to traditional musical categories. Excellent. I'd like to have seen the production, though, which was apparently shown eighty-odd times between 1977 and 1989. I can't quite understand how Schlemmer's geometrical costumes work together with Hespos' decidedly ungeometrical music. (The music for the original production was a mixture of bits of Debussy, Mozart, Haydn, Handel and others, though in 1926 part of it was performed with specially-composed barrel-organ music by Hindemith, which was subsequently lost.)  |
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oliver sudden
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« Reply #3241 on: 03:03:01, 12-08-2008 » |
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(Goodness me, your picture has just given me a hefty thwack of déjà vu. But I suppose it's not really déjà vu since I really have déjà vu the costume in question many times - it's at the Staatsgalerie in Stuttgart. Recommended if you're in the area.)
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richard barrett
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« Reply #3242 on: 09:00:05, 12-08-2008 » |
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it's at the Staatsgalerie in Stuttgart.
Indeed so. As are these:  And this is what looks like some hand-coloured footage of a performance. The music isn't Hespos though. |
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pim_derks
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« Reply #3243 on: 09:19:13, 12-08-2008 » |
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Hello Pim, I have just gone up into the attic and turned out my LP collection which I haven't seen for about 25 years. Oh those sleeves! To this day I associate pieces of music with the pictures on the covers of these LPs, (the Emperor- a gold wreath on imperial purple). For me the Brahms Double Concerto, quite against the nature of the music,is a dark, moody,brooding piece thanks to the Ruysdael landscape on the HMV Ferras/ Tortelier/ Kletzki 1963 LP and very often these old covers come to mind when I play my CDs. Guess we have both had occasion to reminisce to-day. On the cover of my Curzon/Beethoven 5 LP there's a photograph of Beethoven's last piano at the Beethoven House in Bonn "reproduced by permission of The Director, The Beethovenhaus, Bonn". The text on the cover is written by Dyneley Hussey. The Backhaus has a picture by Manet (?!) on it. It's a "I Grandi Concerti" record. You know: those Italian records with the beautiful-full colour booklets inside. The Casadesus has a picture of Napoleon on a horse on it. On the backside I see the portrait of Friedrich Schlegel (I suppose that Member Grew will be delighted about this). I like Ruysdael. This painting by him is my favourite:   |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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thompson1780
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« Reply #3245 on: 23:04:36, 12-08-2008 » |
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 Heard these guys in Chamonix 9 days ago - just on the street. Had to buy both CDs. Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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harmonyharmony
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« Reply #3246 on: 23:19:58, 12-08-2008 » |
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I liked it so much I'm looking for some more music in a similar vein. So while that's downloading I'm listening to Spahlinger's Apo Do. |
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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 #3247 on: 23:30:21, 12-08-2008 » |
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And a little bit of Klaus Lang, Der Wind und das Meer for viola solo.
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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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richard barrett
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« Reply #3248 on: 11:49:44, 13-08-2008 » |
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Yes. Oliver's recommendation of the Schütz Musikalische Exequien was a completely sound one. (Well, if he doesn't know what I like I don't know who would, after all it was he who cunningly found the right moment in Shostakovich to overturn my lifelong distaste for that composer.) Now spinning here however is something I bet no other r3ok member is currently spinning. In fact I bet few r3ok members have ever knowingly spun or been spun it. Nor have I for at least ten years.  Well? The obvious comparison would be with Björk I suppose, but this is much more subtle, delicate and intriguing, to me anyway: it doesn't wear its eccentricity on its sleeve (and Ms Nordenstam has a very strange-sounding voice indeed, somewhere between Jane Birkin and Olive Oyl). In fact I think I might spin it again once it's over. |
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Ted Ryder
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« Reply #3249 on: 13:32:15, 13-08-2008 » |
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Having an eclectic spin to-day. Oscar Brown JR -"Sin & Soul "
Kagel- St Bach Passion
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I've got to get down to Sidcup.
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richard barrett
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« Reply #3250 on: 13:40:08, 13-08-2008 » |
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Kagel- St Bach Passion
I've never got on with that one, despite being an admirer of much of Kagel's work, I suppose in the end I don't really see the point of it as an idea, and I don't find the music interesting enough to overcome that issue. What do you think, Ted? |
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brassbandmaestro
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« Reply #3251 on: 15:29:34, 13-08-2008 » |
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Having a sequence of the great German rep at the moment.
Bruckner Symphony no.7(Berliner PO/Jochum).
Brahms Eine Deutsche Requiem( Dorothea Rosschmann, Thomas Quasthofft, Rundfunkchor Berlin, Berlin PO/Rattle)
Beethoven Symphony no9 'Choral'. (Joan Rodger, Della Jones, Peter Bronder, Bryn Terfel, RLPO, Mackerras).
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Ted Ryder
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« Reply #3252 on: 16:18:22, 13-08-2008 » |
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Richard-The concept of equating Bach's struggle and suffering with that of Christ's is no doubt not only OTT but is, to many, down-right blaspheme. Yet if you allow the conceit that Bach is Music made Man then his struggles with the establishment, his refusal to depart from the "truth" i.e standing apart from the new ways of music and keeping the faith in the face of the Enlightenment it is reasonable to see his life as a Passion.
I enjoy what I know about Kagel's music - Ludwig van, Rrrrrr and a couple of other pieces but in truth I am attracted to "St Bach" because of the action. I like the tension generated not only by modern music quoting from, ( or rather )"remembering" the old, but the force of the drama itself. Athough I speak only English the drama is, to a large part, why I enjoy works such as "Palestrina", "Die Soldaten ", "Il Prigioiro", "Wozzek, "Dialogues des Carmelites" and Udo Zimmermann's "Die Weisse Rose" as well , of course, as Bach's own Passions. It's the frisson I guess. Its why I love the plays of Howard Barker. Sorry, rather shallow reasons,not very enlightening or interesting but you did ask.
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I've got to get down to Sidcup.
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martle
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« Reply #3253 on: 16:29:27, 13-08-2008 » |
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Ted, I find those reasons extremely interesting and pertinent, actually!
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Green. Always green.
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richard barrett
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« Reply #3254 on: 17:21:50, 13-08-2008 » |
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Me too. I just find the sound of that piece somewhat uninvolving. It's one of those things I'd really like to be able to enjoy but can't, which is why I asked.
I did listen to the Stina Nordenstam CD again, and then to another one. So has anyone else here heard of her at all?
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