Georg Friedrich Haas, In Vain.
What Classical Music Are You listening to Now? III
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Debussy
Fantaisie for piano & orchestra
Jean-Yves Thibaudet (piano)
Première Rapsodie, version for clarinet & orchestra
Paul Meyer (clarinet)
Rapsodie for saxophone & orchestra (orch. J. Roger-Ducasse)
Alexandre Doisy (saxophone)
Deux Danses for harp & strings
Emmanuel Ceysson (harp)
Orchestre National de Lyon / Jun Märkl
Recorded 2010/11 Auditorium de Lyon, France
Naxos – Debussy Orchestral Works, Vol. 7
Stéphanie d’Oustrac – ‘Invitation au Voyage’
Mélodies Françaises from Duparc, de la Presle, Debussy, Boulanger & Hahn
Stéphanie d’Oustrac (mezzo-soprano) & Pascal Jourdan (piano)
Recorded 2014, Espace culturel C.J. Bonnet, Chapel of Jujurieux, Ambronay
Ambronay Éditions
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Rossini
Semiramide, opera in two acts (1823)
Semiramide - Albina Shagimuratova (soprano); Arsace - Daniela Barcellona (mezzo-soprano);
Assur - Mirco Palazzi (bass); Idreno - Barry Banks (tenor); Oroe - Gianluca Buratto (bass);
Azema - Susana Gaspar (soprano); Mitrane - David Butt Philip (tenor); Nino’s ghost - James Platt (bass)
Opera Rara Chorus,
Orchestra of the Age of Enlightenment / Sir Mark Elder
Recorded 2016 Henry Wood Hall, London
Opera Rara, 4 CD set
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Originally posted by ahinton View PostTo what extent and in what ways would you say that he developed in the 54 years since this piece?
By the way, I see that he died yesterday.
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Originally posted by Serial_Apologist View PostThis is my first ever encounter with Hespos' music. The mainly German commentaries, plus not having much else to hand of Hespos' music, renders any sort of assessment of him impossible, so one waits for guidance from anyone who knows more. I'm not normally attracted to harshness, but there is something compelling in a good sense about this music.
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Originally posted by Serial_Apologist View PostThis is my first ever encounter with Hespos' music. The mainly German commentaries, plus not having much else to hand of Hespos' music, renders any sort of assessment of him impossible, so one waits for guidance from anyone who knows more. I'm not normally attracted to harshness, but there is something compelling in a good sense about this music.
Fill ones boots, as the Queens English would have it
( just imagine having RB as a student )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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Originally posted by teamsaint View PostRecord liner notes here in English, S-A.
Fill ones boots, as the Queens English would have it
( just imagine having RB as a student )
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Originally posted by Serial_Apologist View PostThis is my first ever encounter with Hespos' music. The mainly German commentaries, plus not having much else to hand of Hespos' music, renders any sort of assessment of him impossible, so one waits for guidance from anyone who knows more. I'm not normally attracted to harshness, but there is something compelling in a good sense about this music.
I can't claim to have been his student although when I first encountered him and his work, at the Darmstadt course in 1984, I lost no time in cornering him to ask his opinion about the scores I had brought with me. His response was that the music is was writing consisted "only of notes", and that I ought to scrape away at them to reveal the inside of the sounds, or something like that. Anyway, this advice was decisive, not only in terms of compositional direction, but also, much later, in terms of teaching, in that one well-chosen and precisely aimed comment can be more valuable than months of work on technique.
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Originally posted by RichardB View PostThis piece dschen was inspired by the playing of Peter Brötzmann, and I know of another composition by Hespos which is dedicated to Albert Ayler, so what you may be finding compelling is the free jazz connection. The sounds of his music act on one another not dissimilarly to the way improvising performers might interact, although his compositional structures unfold in a way that improvisation couldn't, often veering between violent outbursts (where the players often use their voices as well as their instruments) and the most delicate kinds of almost-stillness. One aspect that isn't so apparent from listening alone is the way in which many of his pieces involve a theatrical component as well as sound, in a way that's reminiscent of Artaud's "theatre of cruelty" (in one piece I've seen, entitled seiltanz ("tightrope dance"), a percussionist arcwelds his way out of a metal cage during the performance). Most importantly, maybe, he didn't belong to any school or established style of composition and wasn't interested in promulgating his own style but rather saw it as a way to activate the imagination of listeners.
I can't claim to have been his student although when I first encountered him and his work, at the Darmstadt course in 1984, I lost no time in cornering him to ask his opinion about the scores I had brought with me. His response was that the music is was writing consisted "only of notes", and that I ought to scrape away at them to reveal the inside of the sounds, or something like that. Anyway, this advice was decisive, not only in terms of compositional direction, but also, much later, in terms of teaching, in that one well-chosen and precisely aimed comment can be more valuable than months of work on technique.
The theatrical element you mention puts me in mind of some of Klaus K. Hubler's work.
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