Originally posted by Eine Alpensinfonie
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Essential Classics - The Continuing Debate
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Richard Tarleton
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Originally posted by Richard Tarleton View PostIndeed. Thinking about Transactional Analysis for a moment, what is happening is that Suzy Klein (I really hope she reads this, or that somebody sees it and tells her) addresses her audience in relentlessly Parent→Child or Child→Child mode, which only works if the audience is in Child mode. Most Forumites on this thread want to be addressed by Radio 3 presenters in Adult→Adult mode, and addressing adults in Parent→Child mode simply misfires. SK's bossy persona is becoming insufferable.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 underthecountertenor View PostShe got her retaliation in first today by warning us at the outset that ‘the rest of the symphony’ was not an acceptable answer.
We’ve got under teacher’s skin.
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Originally posted by Eine Alpensinfonie View PostSoon they'll be giving us a multiple choice list of acceptable answers.
Oh, wait! They've already done that with the recent "vote for an opera".
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Originally posted by Richard Tarleton View PostIndeed. Thinking about Transactional Analysis for a moment, what is happening is that Suzy Klein (I really hope she reads this, or that somebody sees it and tells her) addresses her audience in relentlessly Parent→Child or Child→Child mode, which only works if the audience is in Child mode. Most Forumites on this thread want to be addressed by Radio 3 presenters in Adult→Adult mode, and addressing adults in Parent→Child mode simply misfires. SK's bossy persona is becoming insufferable.
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Originally posted by french frank View Posti've heard R3 is doing or planning work with universities - on the lines of the mixtape (which seemingly even they aren't entirely satisfied with) to stimulate interest in classical music. What form that might take I've no idea..
Back in the day I was fortunate to attend an institution which had a full programme of all kinds of music across the 3 main campuses at different times and days of the week, the majority free to listen, and not primarily for the benefit of the music students. I think I did my bit to introduce some of my fellow students(I wasn't studying music so neither were they)to other forms of music by taking part in some of the short lunchtime drop-in(and out) performances - they came to see what I was up to in my spare time and several were sufficiently intrigued to try some of the other offerings and also ask about what else they could listen to. The fact that the hall was on the main thoroughfare through the building made it easy to loiter and listen, and what was being performed often neither looked nor sounded like 'classical' music, which reduced the scaring -off factor.
The flashmob type approach can also be a good way of getting the music to the people - seeing musicians performing is more interesting for many than just hearing what they are playing.
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Originally posted by Eine Alpensinfonie View PostI requested the "other" movements from the Gadfly Suite as a companion piece. I expect to be blocked soon, but if you don't try ...
It makes one wonder what is being curated here?
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Originally posted by Stanfordian View PostYou're spoiling the game! Shame on you! Why on earth would anyone want to hear a complete piece of music? It will never do!
It makes one wonder what is being curated here?
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Originally posted by Serial_Apologist View PostI'm sure if composers intended having their works decimated in this way, and served up as "samples", they'd have inserted a codicil in their wills to this effect...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 french frank View PostWhat one would welcome is an explanation as to why there is a preference for playing truncated pieces rather whole works. Like, Why are you doing it? Why is that preferable to playing whole works? Explain in simple language.
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I wonder if there might have been pressure from record companies to restrict the playing of whole works from commercial releases? With the iPlayer offering its 'HD Sound', home 'taping' of whole works might be seen as hitting their sales. Quite a few record companies refuse to permit streaming of their products via services such as QOBUZ, while sales of downloads are permitted.
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Originally posted by french frank View PostWhat one would welcome is an explanation as to why there is a preference for playing truncated pieces rather whole works. Like, Why are you doing it? Why is that preferable to playing whole works? Explain in simple language.
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Originally posted by doversoul1 View PostIt could be that that is what they do there, whoever they are. That’s how you play CDs. Who wants to hear one ‘track’ after another from the same CD on the radio…. ?
I would, presumptuously, volunteer a reason for RW: 'because we're trying to attract listeners who know very little about classical music and who have short attention spans. Playing anything longer than 10 minutes will tire them out and they'll go away and not come back. And they are more important to us than YOU are.' But the question would remain: why don't you answer the question (because if that is the answer, the last thing you'll do is admit it)? Do you have a public reason you can give?
I'm not sure that the pressure from record companies fully explains it: there are plenty of works which even at 'full-length' don't fill a whole CD. And if that were the reason, why not just say so?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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