The final Huddersfield 2010 highlights programme had a fair range of what the festival had to offer, but what on Earth was Sara Mohr-Pietsch on about when the transition was made from Cage to Barrett? She really did get their relation to improvisation quite the wrong way round. Contrary to what she claimed, Cage was pretty much dead set against improvisation while Barrett includes improvisatory sections in many (most) of his compositions and is himself an improving musician of international renown. A little more homework please Ms. Mohr-Pietsch. Let's hope Mr. Barrett was not to wounded by her gaff.
H&N February 12th
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Panjandrum
What amazes me is that the presentation was presumably done at the time. What excuse is there for no-one on the production team picking this one up and putting it right? Are they all pig ignorant when it comes to contemporary music?
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Originally posted by Bryn View Post. . . Let's hope Mr. Barrett was not to [sic] wounded by her gaff whistle.
Rebecca SAUNDERS: Murmers (UK Premiere)
Richard BARRETT: Wound I & III (World Premiere)
Richard BARRETT: Wound II
Brian FERNEYHOUGH: Quartet No.6 (World Premiere)"
Thus the Corporation. The first four works have frightfully discouraging names. In the case of the Saunders we are left wondering whether the ignorant misspelling is the composer's or the B.B.C.'s. And to name - not one but three - pieces "Wound" simply leads one to reflect upon whether the intention of the man might have been to inflict them upon the unfortunate auditor. All sensible persons must take to their heels upon seeing such titles!
The mystification continues with "Quartet No.6" - for surely that cannot be the name given the work by its composer. He would have written "String Quartet" (using the truncated modern orthography), or "Oboe Quartet" or "Tuba Quartet," even, would he not. (But actually it may be of assistance to Members to inform them that the phrase "String Quartet" does appear elsewhere, embedded in an obscure passage of the descriptive text.)
We regret to say then that the whole programme in the form published by Radio Three reeks of failure! When will these modernists learn that their meaningless, horrid, or frivolous titles are driving potential listeners away in droves!
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3rd Viennese School
What’s meaningless about the title Quartet no.6? Which I take as Ferneyhough’s 6th String Quartet.
Wasn’t sure if Richard’s work was pronounced “Woond” or “ Wownd” on reading the Radio 3 schedules. As in winding the tape back.
Rebbeca Saunders- Murmers- atmospheric title!?
Anyway, I heard the show in the pub but would really need to hear it again or record it to get to grips with it.
So Sydney. Any suggestions for re-titles?
3VS
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Originally posted by Sydney Grew View PostWhen will these modernists learn that their meaningless, horrid, or frivolous titles are driving potential listeners away in droves!
Suggestions for meaningless, horrid and/or frivolous titles please (i find deciding what to call pieces hard sometimes and I have a few in the pipeline !)
Surprise Symphony ?
Jeux ?
Enigma ?
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Originally posted by 3rd Viennese School View Post. . . So Sydney. Any suggestions for re-titles?
"Programme:
Rebecca SAUNDERS: Ignorence [sic] (UK Premiere)
Richard BARRETT: Horridness and Horridness Again (World Derniere)
Richard BARRETT: Horridness All Over
Brian FERNEYHOUGH: Sixth String Quartette (revised and corrected after the examples of Mozart and Scryabine so as to incorporate many new passages of intensity charm lyricism and profundity in the elevated poetico-mystical style which will define the taste of the coming century)"
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3rd Viennese School
Or even “Ignorance”(sick)
I had a title a few years ago for a keyboard work. Quintet for Five Instruments!
3VS
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amateur51
Originally posted by Sydney Grew View PostHow about this then:
"Programme:
Rebecca SAUNDERS: Ignorence [sic] (UK Premiere)
Richard BARRETT: Horridness and Horridness Again (World Derniere)
Richard BARRETT: Horridness All Over
Brian FERNEYHOUGH: Sixth String Quartette (revised and corrected after the examples of Mozart and Scryabine so as to incorporate many new passages of intensity charm lyricism and profundity in the elevated poetico-mystical style which will define the taste of the coming century)"
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