Originally posted by Roslynmuse
View Post
The piano
Collapse
X
-
Originally posted by Richard Barrett View PostA complete recording does exist (I know because I have it!) but I'm not sure whether it was ever intended for commercial release.
Comment
-
-
Originally posted by kea View PostEnglish Country Tunes is a piece I value extremely highly, but fundamentally, it's just Stockhausen with some algorithmically altered bits of older music mixed in.
Comment
-
-
Originally posted by Richard Barrett View PostA complete recording does exist (I know because I have it!) but I'm not sure whether it was ever intended for commercial release.
Comment
-
-
Regarding the Ian Pace recording of Finnissy's The History of Photograph in Sound, I note that amazon.co.uk give one the choice of paying £45.49 for just a set of lossy mp3s, or just £28.37 for the boxed set of 5 CDs plus those very same mp3s. Such a difficult choice. I, however, paid somewhat more than £30 for the 5 CD boxed set at the City University launch. Still, at least all the profits went to the pianist and composer, rather than Bezos the tax manipulator.
Comment
-
-
Originally posted by RichardB View Postbut the way these materials are fused into a structure doesn't have such perceptible models. .Last edited by Mandryka; 23-02-22, 21:08.
Comment
-
-
Originally posted by Mandryka View PostPeople had done montages before -- Christian Wolff for example. Maybe Finnissy has some new original ideas about how to structure a collage.
Comment
-
-
Originally posted by Bryn View PostRegarding the Ian Pace recording of Finnissy's The History of Photograph in Sound, I note that amazon.co.uk give one the choice of paying £45.49 for just a set of lossy mp3s, or just £28.37 for the boxed set of 5 CDs plus those very same mp3s. Such a difficult choice. I, however, paid somewhat more than £30 for the 5 CD boxed set at the City University launch. Still, at least all the profits went to the pianist and composer, rather than Bezos the tax manipulator.
Comment
-
-
Originally posted by Mandryka View PostThe Knoop sounds so much better than the Pace - which I’ve never enjoyed because of the sound.
Comment
-
-
Originally posted by Bryn View PostSo far, I have only listened to the first four sections of Mark Knoop's performance. I, too, prefer the way the sound of the piano is captured. I will have to return to the Pace, which I have not listened to again since purchasing it, in order to make further comparison. The incidental sounds of audience, etc., in the Knoop recording, I do not find too intrusive. I wonder what, if any, patching from rehearsals, it includes. I certainly found what I have heard of it, so far, totally engaging. It's a little unfortunate that there is no pdf accompanying the Bandcamp download but the booklet notes with the Pace I recall being fairly comprehensive. Now, where did I 'file' it?
What has been a revelation to me is how much fire there is in History of Photography - I mean passionate music - as much as in English Country Tunes.
By the way, I noticed that Knoop has released an accordion recording on bandcamp which looks interesting.Last edited by Mandryka; 24-02-22, 10:14.
Comment
-
-
Folklore III and IV - I and II are available on commercial recordings.
Folklore 3 (1994) - Michael Finnissy Jacob Rhodebeck, piano This is part 3 of Michael Finnissy's 80-minute epic, 'Folklore', for solo piano. Utilizing…
Comment
-
-
Originally posted by Mandryka View PostNow trying to think about the style differences (if any) between English Country Tunes, History of Photography and Folklore.
Comment
-
-
Originally posted by Richard Barrett View PostIndeed that article was my introduction to WZ's music, although at the Darmstadt summer course the following year (1984) I was able to hear some live performances of his work and acquire the aforementioned Lokale Musik recording. I could say something very similar about many articles in the Contact journal, like the Ferneyhough issue in 1980 and, later on, articles on the music of Aldo Clementi, Borah Bergman and others, which sent me off to find ways of hearing the music I had read about (not very easy in those days compared to now!).
We musicians were standing around outside the school gymnasium in Darmstadt, most of us waiting to perform the intricate, ephemeral ensemble pieces that comprise Walter's extensive cycle LOKALE MUSIK. The audience had been amazingly hostile during my part in it, but I now infiltrated them because I wanted to hear the other pieces. From within the audience some French dudes started throwing paper airplanes and being generally rowdy. They thought they knew what was politically “correct” and they were behaving as if this were nazi music (without in fact even bothering to listen to it!). Backstage Walter had remained cheerful and supportive throughout, even joking about the situation. But in my row inside the hall Wolfgang Rihm and Helmut Lachenmann now began to make warning gestures toward the young Frenchmen, hoping to silence them or at least to prevent them from throwing their paper planes. When Helmut took off his shoe and began waving it in a threatening manner, it looked like as if we were heading toward a brawl ... What would have happened if Wolfgang hadn't so quickly succeeded in restraining Helmut and calming him down? And if he hadn't been waving his shoe around would those jerks ever have stopped? How could the musicians concentrate through all this hullaballoo and did Walter know what was happening out here? Although this may well have been the most undignified performance to date, after listening to the rest of the concert, I was quite proud to have taken part in LOKALE MUSIK - both on stage und off!
Comment
-
Comment