Harrison Birtwistle 80

[Guest]

any other MBer listened to Gawain (Evening concert) or the 80th birthday concert (H&N -
Cantata (1969)/ Tragoedia (1965)/ Fantasia on all the notes (2011)/ 4 Poems by Jaan Kaplinski (1991)/
Silbury Air (1976/’77)) celebrating Harrison Birtwistle's 80th birthday, or am I the only one?

[Serial_Apologist]

I did

[LeMartinPecheur]

Caught some of Tragoedia and the Fantasia before collapsing into bed exhausted (not I rush to add by HB!). Am now hunting my CD of the former - must have one somewhere surely

[pastoralguy]

I did too. He conjures a very interesting sound world which is quite compelling.

I've been trying to convince Mrs. PG that the point of this music isn't melody, it's about hearing sounds in a different way.

She's not convinced!

[Serial_Apologist]

I did too. He conjures a very interesting sound world which is quite compelling.

I've been trying to convince Mrs. PG that the point of this music isn't melody, it's about hearing sounds in a different way.

She's not convinced!

I think that once the atonal (or non-tonal) character of Birtwistle's musical language is accustomed to, anyone who experiences minimal difficulty in listening to Stravinsky's "Le Sacre" shouldn't have too many problems with this music. I would say more that it is about being open to the unexpected in music than hearing sounds in a different way, although I would argue that Birtwistle's music is actually quite melodic, but that the non-tonally resolving nature of these sounds, freed from predictable outcomes, coupled with the pulse irregularities referred to by the composer in the discussion on "Silbury Hill" (though it applies to most of his music) does raise the premium on sound values per se in ways that help keep the concentrating listener on his or her toes.

[Roehre]

I think that once the atonal (or non-tonal) character of Birtwistle's musical language is accustomed to, anyone who experiences minimal difficulty in listening to Stravinsky's "Le Sacre" shouldn't have too many problems with this music. I would say more that it is about being open to the unexpected in music than hearing sounds in a different way, although I would argue that Birtwistle's music is actually quite melodic, but that the non-tonally resolving nature of these sounds, freed from predictable outcomes, coupled with the pulse irregularities referred to by the composer in the discussion on "Silbury Hill" (though it applies to most of his music) does raise the premium on sound values per se in ways that help keep the concentrating listener on his or her toes.

Which simply means: you have got to listen and re-listen (which applies to most "serious" ["classical", jazz] music, btw)

[Serial_Apologist]

Which simply means: you have got to listen and re-listen (which applies to most "serious" ["classical", jazz] music, btw)

W.....ell, while I largely agree with that, some kinds of music lend themselves more to concentrated listening than others because there is more of the unexpected in them.

If I were allowed one justification for innovation in music in the capitalist realist monaural world fast approaching if not already here, that would be mine!

[Roehre]

...If I were allowed one justification for innovation in music in the capitalist realist monaural world fast approaching if not already here, that would be mine!

[Roslynmuse]

Yes, caught Gawain via iPlayer and, now that it seems to be working again, I'm listening to H & N.

There were two pieces by Birtwistle that grabbed me thirty years ago - The Triumph of Time and Yan Tan Tethera. Both are full of melodic invention and an immense range of colour, and the memory of those experiences has always encouraged me to keep engaging with his dark and remarkable soundworld. Coincidentally, my very first Prom also featured two Birtwistle pieces, Nomos and Three Movements with Fanfares. I don't think I've heard them since (1st August 1984, BBC SO/Elgar Howarth. Also on the programme - Bartok Sonata for Two Pianos and Percussion and the Berio Sinfonia).

[CallMePaul]

I rarely listen to Hear and Now, mainly because the timing does not suit but partly because of what I have perceived as an over-safe choice of repertoire. However, I did hear this and enjoyed most of the music plus the conversation with Sir Harrison. I agree that his music should not pose too many difficulties to anyone whose musical tastes venture beyond the Late Romantics. I would also recommend this tuba concerto The Cry of Anubis as a good introduction to his sound world and wish I had bought the CD of his Celan settings during its short period in the catalogue.

[Hornspieler]

I rarely listen to Hear and Now, mainly because the timing does not suit but partly because of what I have perceived as an over-safe choice of repertoire. However, I did hear this and enjoyed most of the music plus the conversation with Sir Harrison. I agree that his music should not pose too many difficulties to anyone whose musical tastes venture beyond the Late Romantics. I would also recommend this tuba concerto The Cry of Anubis as a good introduction to his sound world and wish I had bought the CD of his Celan settings during its short period in the catalogue.

Some interesting sounds and probably well constructed, but for me it is not music - it is a sometimes faintly interesting noise.

My loss, I'm sure.

Hornspieler

[MrGongGong]

Some interesting sounds and probably well constructed, but for me it is not music - it is a sometimes faintly interesting noise.
My loss, I'm sure.
Hornspieler

Oh please not that old nonsense again
Of course it's MUSIC
whether you like it
or
whether it's any good is another thing all together

(Good to see Steve Bell conducting at this years Proms.... OK it's the Childrens corner BUT more hornplayers at the front I say )

[Stanfordian]

I think that once the atonal (or non-tonal) character of Birtwistle's musical language is accustomed to, anyone who experiences minimal difficulty in listening to Stravinsky's "Le Sacre" shouldn't have too many problems with this music. I would say more that it is about being open to the unexpected in music than hearing sounds in a different way, although I would argue that Birtwistle's music is actually quite melodic, but that the non-tonally resolving nature of these sounds, freed from predictable outcomes, coupled with the pulse irregularities referred to by the composer in the discussion on "Silbury Hill" (though it applies to most of his music) does raise the premium on sound values per se in ways that help keep the concentrating listener on his or her toes.

Hiya Serial_Apologist,

I was interested that Maestro Riccardo Chailly said recently that he was interested in Birtwistle's music. So maybe some Birtwistle might be programmed in the future at Leipzig or Milan.

[jayne lee wilson]

I rarely listen to Hear and Now, mainly because the timing does not suit but partly because of what I have perceived as an over-safe choice of repertoire. However, I did hear this and enjoyed most of the music plus the conversation with Sir Harrison. I agree that his music should not pose too many difficulties to anyone whose musical tastes venture beyond the Late Romantics. I would also recommend this tuba concerto The Cry of Anubis as a good introduction to his sound world and wish I had bought the CD of his Celan settings during its short period in the catalogue.

Hiya Paul - the Three Celan Settings are still available either on the British Music Collection 2CD set (Decca) or the original DG Boulez CD with Secret Theatre as the headline work, both on Amazon etc. If it's Pulse Shadows you're after, that's still around too. (The Three Celan Settings are included in the Pulse Shadows sequence - nos. 4, 14 & 16).

Having often to organise two meals a night makes the latenight start for H&N almost impossible, but I hope to have my own Birtwistle season soon!

One of the greatest British composers - for me, there's nothing more to say. But much to listen to!

[Pianoman]

Like others, i'll do my own little 'tribute', starting with the utterly compelling "Moth Requiem', and then going right back re-visiting my favourite opera of the last half-century 'Punch and Judy'.