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I just caught the last quarter-hour of the first programme and was thinking "Whoever this composer is, he should share the royalties with Turangalila - and lumme, the thing was written twenty years before the Messiaen. I previously "knew" Cowell through Banshee, the New Musical Resources and his Ives connection. This has made me keen to explore further.
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
I just caught the last quarter-hour of the first programme and was thinking "Whoever this composer is, he should share the royalties with Turangalila - and lumme, the thing was written twenty years before the Messiaen. I previously "knew" Cowell through Banshee, the New Musical Resources and his Ives connection. This has made me keen to explore further.
I was always big on Cowell, but a couple of weeks ago I played some of his chamber works on my iPod on the beach and got bored
When I was at college, a girl I knew was doing a thesis on Cowell, and she played me a few things - at the time, they didn't really get me going. However, I've been fascinated by the COTW series and the story of Cowell's extraordinary life, and I've found the music really quite absorbing (I didn't realise that it is so approachable.)
(And of course it all reinforces my view that COTW is one of the most precious gems in the R3 diadem.)
It's quite enjoyable, but tiring inasmuch as rather akin to someone who talks on and on, continually changing the subject. You end up feeling he liked the sound of his own voice, but not really remembering what any of what he said was about.
I can understand why the music critics of my young days tended to see the greatest musical value as being finding a consistent voice.
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