Originally posted by Heldenleben
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The Eternal Breakfast Debate in a New Place
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Originally posted by Eine Alpensinfonie View PostThe problem is that they never change key.
Which reminds me of that bit in Alan Bennett's Sermon from "Beyond the Fringe":
"Life, you know, is rather like opening a tin of sardines. We're all of us looking for the key".
I know: I've got it! It has to be in that well-known Northumbrian folk song - The Key Row!
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Originally posted by Serial_Apologist View Post
Which reminds me of that bit in Alan Bennett's Sermon from "Beyond the Fringe":
"Life, you know, is rather like opening a tin of sardines. We're all of us looking for the key".
I know: I've got it! It has to be in that well-known Northumbrian folk song - The Key Row!
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Transported back many decades by an item this morning - "O du lieber Augustin". Memories of German lessons where the tedium was very occasionally lightened by some singing, usually alternating between Augustin and "O Tannenbaum", but there was also a child's song about instruments of the orchestra along the lines of "pauken macht pom pom pom" and at Christmas the obligatory dirge of Stille Nacht.
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Originally posted by oddoneout View PostDidn't Schoenberg start off tuneful then thought better of it? I seem to remember hearing an early work and being surprised, but then decided he was perhaps the music equivalent of Picasso or Henry Moore.
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Originally posted by oddoneout View PostDidn't Schoenberg start off tuneful then thought better of it? I seem to remember hearing an early work and being surprised, but then decided he was perhaps the music equivalent of Picasso or Henry Moore.
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Originally posted by Bryn View PostIn that their early work demonstrated just how very advanced their grasp of their chosen discipline's established craft was?
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Originally posted by Serial_Apologist View PostMany years ago I had a copy of Donald Mitchell's book "The Language of Modern Music", of which he spent a considerable proportion trying to draw parallels between Schoenberg's 12-tone method and Cubism - which had me thinking this to be a totally wrong path to pursue: Schoenberg's aesthetic being that of Expressionism, and in particular the Blaue Reiter group of artists, with whom he exhibited paintings of his own, whereas I think it would have been Stravinsky, along with Satie and others around Les Six he associated with for a time before moving to America, (not to mention Picasso of course!), who was more aligned with Cubism. And then, right at the end of his book, Mitchell mentions in an afterword that someone had drawn his attention to parallels between Schoenberg and Kandinsky, and he was in agreement, these not having previously occurred to him!It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by Serial_Apologist View PostProbably not - I wasn't listening. What I do know is that I got out of bed on the right side this morning.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by Bryn View PostIn that their early work demonstrated just how very advanced their grasp of their chosen discipline's established craft was?
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Originally posted by oddoneout View PostYes, because it gave them the firm basis from which to experiment and move forward. I don't much like the music Schoenberg is best known for and I don't like all of the Picasso/Moore ditto, but I certainly don't take the " why didn't he carry on doing proper art/music" line that I have heard voiced so many times.
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Originally posted by LMcD View PostYes, it was discussed - during the 0700 news summary, with a repeat at 0800. Unfortunately, my cheapo radio was unable to receive both at the same time.I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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