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richard barrett
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« Reply #3405 on: 00:23:46, 31-08-2008 » |
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Ah yes. I think I know who you mean. Had an interesting non-conversation with Chris Fox about that composer once. We were both tactfully non-committal.
I should be very surprised if you or CF had ever come across this person. (I wonder who you thought I was thinking about!) Anyway. Another thing this music sometimes reminds me of (halfway through Sonata no.3 now) is Chris Newman, some of whose music I'm quite interested in. |
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Ian Pace
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« Reply #3406 on: 01:19:45, 31-08-2008 » |
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and that she was a strong influence on a composer I know who can remain nameless but whose music I can't stand
Ah yes. I think I know who you mean. Had an interesting non-conversation with Chris Fox about that composer once. We were both tactfully non-committal. I think I know who you are thinking of (and I do like her music very much, though she does somewhat re-write the same basic piece many times, though is by no means alone in that respect), and she definitely demonstrates a strong influence of Ustvolskaya. But I suspect Richard is thinking of someone else (who I don't know). |
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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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Turfan Fragment
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« Reply #3407 on: 02:06:42, 31-08-2008 » |
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How many mystery composers does that make in total?
The one Ian thinks hh is talking about.
The one hh thinks rb is talking about.
The one rb is actually talking about.
And the three that I think they really mean.
And each has at least 2 genders.
NS: Egarr plays WTC I. Is he going to record WTC II as well? I'd be interested what the A-flat major fugue from there sounds like in this temperament.
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Evan Johnson
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« Reply #3408 on: 03:33:53, 31-08-2008 » |
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Ah yes. I think I know who you mean. Had an interesting non-conversation with Chris Fox about that composer once. We were both tactfully non-committal.
I should be very surprised if you or CF had ever come across this person. (I wonder who you thought I was thinking about!) Anyway. Another thing this music sometimes reminds me of (halfway through Sonata no.3 now) is Chris Newman, some of whose music I'm quite interested in. Wait until you get to Sonatas 5 and 6. (which recording of the sonatas are you Spinning?) one of the highlights of my brief performance career was a traversal of all 6 Ustvolskaya piano sonatas spread over the course of an all-night contemporary music marathon... ah, to be 21 again... |
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richard barrett
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« Reply #3409 on: 10:09:07, 31-08-2008 » |
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Wait until you get to Sonatas 5 and 6. (which recording of the sonatas are you Spinning?)
Markus Hinterhäuser. I didn't get further than no.3 last night. The subject of my cryptic comment was someone who is very unlikely to be familiar to anyone here. I'm sorry I said anything now. |
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strinasacchi
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« Reply #3410 on: 10:38:29, 31-08-2008 » |
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NS: Egarr plays WTC I. Is he going to record WTC II as well? I'd be interested what the A-flat major fugue from there sounds like in this temperament.
Yes - I think he did it earlier this year, but I don't expect it'll be released for a while yet. |
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Ian Pace
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« Reply #3411 on: 11:49:13, 31-08-2008 » |
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Anyone know the recordings of these sonatas by Frank Denyer? I must declare an interest, as he is a colleague of mine. But it's a recording well worth hearing, and very different to Rachmaninoff-style interpretations of these works.
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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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richard barrett
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« Reply #3412 on: 12:25:19, 31-08-2008 » |
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 ... that is to say, music from "Polyhymnia Caduceatrix et Panegyrica", a collection of (often poly-)choral music by Michael Praetorius, performed here taking full use of Praetorius' suggestions for spatial separation and instrumentation. The idiom is not so different from Schütz but somewhat less contemplative and more virtuosic. Very fine indeed. Those piano sonatas will have to wait. |
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harmonyharmony
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« Reply #3413 on: 13:09:07, 31-08-2008 » |
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Messiaen, St François d'Assise
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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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martle
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« Reply #3414 on: 13:12:03, 31-08-2008 » |
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Messiaen, St François d'Assise
Hmm. Another one getting into training, hh?  |
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Green. Always green.
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richard barrett
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« Reply #3415 on: 13:26:03, 31-08-2008 » |
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Prokofiev, The Fiery Angel. Which of course comes after Praetorius in my iTunes. Compared to Saint François it's a bit, well, satanic.
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harmonyharmony
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« Reply #3416 on: 13:41:27, 31-08-2008 » |
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Messiaen, St François d'Assise
Hmm. Another one getting into training, hh? Haha. No. The fact that it's going to be done at the proms just reminded me how long it was since I last listened to it. I've been hearing the angel knocking at the door in the privacy of my own head for at least two months (not consistently you'll be relieved to hear; 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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richard barrett
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« Reply #3417 on: 15:25:13, 31-08-2008 » |
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Nor did I get to the end of the Prokofiev opera, having been seduced by Schmelzer. Now, however, it's Schnittke's 8th Symphony, still the only one I have a recording of. So few notes and each one seemingly so wearied by the massive weight of history pressing down on it.
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strinasacchi
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« Reply #3418 on: 15:55:44, 31-08-2008 » |
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Do you usually listen to music in alphabetical order?  I'm rearranging my music shelves right now in an attempt to gain extra space. I've decided to do away with "sonata" "concerto" "trio sonata" etc categories and just put everything in alphabetical order. I do this already with my CDs (except the ones that just sit around in stacks because I don't have enough shelf space for those either) and it seems to work pretty well. NS: right now silence, but previously some late Monteverdi. |
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richard barrett
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« Reply #3419 on: 16:23:26, 31-08-2008 » |
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Do you usually listen to music in alphabetical order? When I'm playing it out of my computer, I'm afraid so. Since you're here, the Schmelzer by the way was from a CD of ensemble sonatas by Musica Fiata, which duplicates a few of the pieces on a Concentus Musicus disc originally recorded around 1970, which I also listened to some of. It struck me that early wind instrument playing (clarini, sackbuts and cornetts in this case) has changed beyond recognition in that time, that is to say improved - no more broadening the tempi to get all the notes in or only just getting away with the ornaments - whereas baroque string playing hasn't, not to the same degree anyway, it seems to me, and actually I find myself preferring the sound of the Concentus strings of that time, especially in this repertoire, to many more recent groups, present company excepted of course. Is that a reasonable observation do you think? |
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