Originally posted by Suffolkcoastal
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Essential Classics - The Continuing Debate
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COTW is still one of the few programmes on R3 that managed to maintain standards and has a fair degree of professionalism. The trouble with much of the rest of the Music on the Brink series is that they are trying to fit it to the various misconceived programmes of recent years like Inessential Classics
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Music on the Brink is a concept that deserves much better than what is presently on offer. It is the kind of theme that I would suppose many of us who have been critical of R3's style in recent years would argue has the potential to bring in the new listener as well as offer insights and discussions on the European musical world in the first 14 years of the 20th century.
Sadly, what we are given is a mish-mash of gobbets of music scattered throughout the day's offerings which has little relevance to either each other or the rest of the music in any programme (COTW excepted). What is needed is a series totally dedicated to the music of the period interspersed with a commentary placing developments within context both historical and musical. It feels and sounds like someone in the R3 back office had the idea to tack onto the general centenary acknowledgement of WW1 but couldn't be bothered to go the whole hog. Instead we have that annoying jingle with the equally annoying voice-over used on cookery programmes announcing "Music on the Brink" at random and irrelevantly.O Wort, du Wort, das mir Fehlt!
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Originally posted by Bax-of-Delights View PostMusic on the Brink is a concept that deserves much better than what is presently on offer. It is the kind of theme that I would suppose many of us who have been critical of R3's style in recent years would argue has the potential to bring in the new listener as well as offer insights and discussions on the European musical world in the first 14 years of the 20th century.
Sadly, what we are given is a mish-mash of gobbets of music scattered throughout the day's offerings which has little relevance to either each other or the rest of the music in any programme (COTW excepted). What is needed is a series totally dedicated to the music of the period interspersed with a commentary placing developments within context both historical and musical. It feels and sounds like someone in the R3 back office had the idea to tack onto the general centenary acknowledgement of WW1 but couldn't be bothered to go the whole hog. Instead we have that annoying jingle with the equally annoying voice-over used on cookery programmes announcing "Music on the Brink" at random and irrelevantly.
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Originally posted by Bax-of-Delights View PostMusic on the Brink is a concept that deserves much better than what is presently on offer. It is the kind of theme that I would suppose many of us who have been critical of R3's style in recent years would argue has the potential to bring in the new listener as well as offer insights and discussions on the European musical world in the first 14 years of the 20th century.
Sadly, what we are given is a mish-mash of gobbets of music scattered throughout the day's offerings which has little relevance to either each other or the rest of the music in any programme (COTW excepted). What is needed is a series totally dedicated to the music of the period interspersed with a commentary placing developments within context both historical and musical. It feels and sounds like someone in the R3 back office had the idea to tack onto the general centenary acknowledgement of WW1 but couldn't be bothered to go the whole hog. Instead we have that annoying jingle with the equally annoying voice-over used on cookery programmes announcing "Music on the Brink" at random and irrelevantly.
1) Give examples of the breakdown of diatonic tonality in the musics of Arnold Schoenberg, Bela Bartok and Erik Satie, and how in different ways these examples relate to the contemporaneous movements in the arts and sciences, eg Fauvism, Cubism, Expressionism, and psychoanalysis, Evolutionary theory and psychoanalysis, with particular bearings on the evolving social and political circumstances pertaining in the countries of birth and/or domicile of the artists and musicians concerned.
2) As a follow-on brief for a programme series, with reference to the alleged death of grand narrative thinking in artistic and philosophical circles in the West, post 1970, consider the various manifestations of Neo-Classicism in European art and music of the 1920s and '30s in relation to inscribed notions of progress in the artistic ferment prior to World War I.
Someone better versed than I can probably articulate the issues better than I.
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Originally posted by Barbirollians View PostI agree 100% . How fascinating it might have to have a programme each on the effects on the five main participants in the war -UK,Germany, Austro-Hungary , France and Russia - and one other considering the other countries that joined in or were forced into the war like Belgium.
There are so many possible perspectives from which to enrich this subject.
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Originally posted by Serial_Apologist View PostImagine what one of us, here on this forum, with our collective knowledge and insights into this subject, could have made of the brief, in terms of filling the schedule with informative and lively programiing and debate, possibly lasting several months! Eg:
1) Give examples of the breakdown of diatonic tonality in the musics of Arnold Schoenberg, Bela Bartok and Erik Satie, and how in different ways these examples relate to the contemporaneous movements in the arts and sciences, eg Fauvism, Cubism, Expressionism, and psychoanalysis, Evolutionary theory and psychoanalysis, with particular bearings on the evolving social and political circumstances pertaining in the countries of birth and/or domicile of the artists and musicians concerned.
2) As a follow-on brief for a programme series, with reference to the alleged death of grand narrative thinking in artistic and philosophical circles in the West, post 1970, consider the various manifestations of Neo-Classicism in European art and music of the 1920s and '30s in relation to inscribed notions of progress in the artistic ferment prior to World War I.
Someone better versed than I can probably articulate the issues better than I.O Wort, du Wort, das mir Fehlt!
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I do think the invariable method of imposing the special content on the regular schedule each time makes it well nigh impossible to put together a coherent programme throughout an entire day or weekend.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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Driving down the M4 this morning en route to an auction I was delighted and amazed to hear a COMPLETE symphony on EC. Tchaikovsky's No.1.
I suppose that I am driven to commenting on this shows how we have become inured to hearing just bleeding chunks on EC.
R.Cowan interviewing Nigel Williams yesterday made an interesting allusion to how "we in R3" are standing up for quality and cited producers, assistant producers et al - but omitted the name of RW.
Worm turning?O Wort, du Wort, das mir Fehlt!
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Originally posted by Bax-of-Delights View PostR.Cowan interviewing Nigel Williams yesterday made an interesting allusion to how "we in R3" are standing up for quality and cited producers, assistant producers et al - but omitted the name of RW.
Worm turning?
R3 tweets:"Still to come on #EssentialClassics this morning, music by Padre Antonio Soler and Frank Sinatra. That's correct."
"Hope you enjoyed None but the Lonely Heart by Sinatra to finish off #EssentialClassics this week. @robccowan will be back on Monday at 9."
Well, it is a classic, probably.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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What is it with Rob Cowan's penchant for not playing anything later than the 1960s in Baroque repertoire? On Thursday we had a Bach Cantata in the Richter version when we could have had one of so many better versions informed by recent scholarship. The Richter was frankly as dull as ditchwater in extremely elderly sound.
The thing with Cowan is that when he plays repertoire which is clearly not his thing he falls back on those recordings from what he clearly considers to be the golden age of recording. Lovers of the baroque deserve far better than they get from R3!
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