Originally posted by richardfinegold
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Would mentioning Britten be a Bridge too far? -
Handel was a subscriber to Telemann's Tafelmusik collection and made copious use of it in his own compositions, this being one of the more prominent examples.Originally posted by doversoul1 View PostI can’t remember which came first and which was a quote.
Telemann: TWV 53:F1 / Concerto for 3 violins, strings & b.c. in F major
Handel - The Arrival of the Queen of Sheba
https://www.youtube.com/watch?v=-TGKJ9MgCOQComment
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If you just focus on the melody ignoring the rest it all becomes obvious IMV (allegedly.... he has better lawyers than I could ever dream of)Originally posted by Stanfordian View PostComment
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I don’t think that in this case that ALW does a deliberate steal, though not true of other works, but I think that it was a coincidence of similar notes. It can happen when seeking a new tune for a song.Originally posted by MrGongGong View PostComment
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I played the opening of Memory, from Cats, to a class of secondary school children, having asked them to identify it. There was a big shout of "BOLERO", which wasn't what I'd expected, having not noticed the similarity up to that point.
This was shortly after the Torvill and Dean version had taken the world by storm with their interpretation of the Ravel work..Comment
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Mentioning Bridge would be a Britten not far enough, in my view!Originally posted by cloughie View PostComment
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You are more generous than I amOriginally posted by cloughie View Post
He knows Bolero and when the melody "came to him" he will have known the link
happens all the time when one is playing with writing "tunes".
An Indian musician I was working with me sent me a recording of a melody he wanted to use. It was more or less "London's Burning" which he didn't know BUT it was part of my job to not include it.Comment
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One could cite examples too numerous to list of quotes in Prog Rock, but for me the very worst of all had to be the suite entitled "The Devil's Triangle", from King Crimson's "In The Wake of Poseidon", with its laborious and heavily over-Mellotronicised plagiarization of the Mars movement of "The Planets", right down to the rhythmic underpinning.
What "on earth" (?) was I doing giving such self-important over-inflated stuff my attention in the early 1970s?
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I think there is an uncanny similarity between the very well know Russian/Ukrainian folk song "Dark Eyes" (mid 1800s), one of the few tunes I can play on the guitar, and "Midnight in Moscow" (mid 1950s) and I confuse them in my mind. I have wondered if the latter was a direct variant of the former - but nothing in my research has implied that this is the case.Comment
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In Stephen Johnson’s Sunday Feature from August 2008, Vaughan Williams: Valiant for Truth (I just had another listen to it), Arthur Butterworth told him that as a young man he had some composition lessons with RVW. During one he apologised saying that some of his songs were very like what his tutor would have written.
He said “RVW replied: Oh you’ve no need to worry about that, I was the greatest cribber since Handel. You have to look at it this way: we all have to learn from the previous generation, and you are an Englishman like I am. Although you’re about 50 years younger than I am you have experienced the same kind of atmosphere and general aura of the countryside, so notwithstanding the fact that things have changed like road furniture, lamps and transport, everything is really the same, the seasons, the atmosphere of Britain. We have experienced the same kind of background, so you mustn’t think it unusual that you experienced your music in the same way that I’ve experienced mine. But - and this is the thing that impressed me most of all - he said you mustn’t think you are being disloyal to me if in some future time my music doesn’t mean as much to you as it does now. And I was really quite abashed by this remark, and I’ve remembered it ever since.”Pacta sunt servanda !!!Comment
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But then Maurice was not acute enough to sue from the grave! Another associationof melodies I have just remembered is the similarity of the 3rd movement of Mahler 4 to the 2nd movement of Tchaikovsky’s PC2. Richard Clayderman stole it for one of his tunes that I never bothered to try to put a name to, and when he collaborated with James Last confirmed the white lines down the middle of his back and bland MOR music!Originally posted by MrGongGong View PostComment
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"Bastard. It probably is actionable. It really is! But I think that life's too long to bother with suing Andrew f*cking Lloyd Webber. I think that might make me really gloomy." R WatersOriginally posted by cloughie View PostComment
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