Gunther schuller rip

[BLUESNIK'S REVOX]

"Gunther Schuller, horn player, educator
and Pulitzer prize-winning composer who
was the leading proponent of the Third
Stream movement fusing jazz and classical
music, died on Sunday at age 89.
His son, Ed Schuller, said his father died
on Sunday morning at a hospital in Boston.
He said his father had several medical
conditions.

“He was a great musician. I loved him and
we will miss him,” Schuller, a bassist, said.
“He had a great life, he lived his dream.”

Quite a life indeed. Good Obit in the Guardian,

BN.

[ferneyhoughgeliebte]

A generous spirit and a fine, open-minded Musical thinker.

[Roehre]

A great musician, both in "Classical contemporary" and "Jazz"

RIP Gunther Schuller

[Hornspieler]

A great musician, both in "Classical contemporary" and "Jazz"

RIP Gunther Schuller

You gave a lot of hornplayers good advice and a pathway into the profession.

Sadly missed by those of us who read and heeded your words.

R.I.P

[BLUESNIK'S REVOX]

"Gunther Schuller was, for all the many
years of his widely creative life, a
dynamic force for serious thought in the
world of music. He raised his voice as
an intelligent musical presence as
composer, conductor, organizer,
essayist, publisher, and administrator. In
his many solo, chamber, and orchestral
works, Gunther Schuller has left us a
powerful legacy of a life in music
beautifully spent. Bravo! We will miss
you. Rest well! "

Joel Krosnick, Juilliard String Quartet

[Serial_Apologist]

I remember him, in a radio interviewer, stating that he felt he had discovered the (for him) equivalent of major/minor diatonic music in the form of a twelve-tone series he had been using for a number of decades in all of his concert music, written within a broad expressive range. An episode from an orchestral work in a neo-Romantic Bergian idiom full of conviction was then played by way of illustration, minding me of the aesthetic diversity that was once seen as embraceable within the serial principle of composition, and which has become a bit of a personal bandwagon with me, if you'll pardon the pun, I guess.

[BLUESNIK'S REVOX]

I remember him, in a radio interviewer, stating that he felt he had discovered the (for him) equivalent of major/minor diatonic music in the form of a twelve-tone series he had been using for a number of decades in all of his concert music, written within a broad expressive range. An episode from an orchestral work in a neo-Romantic Bergian idiom full of conviction was then played by way of illustration, minding me of the aesthetic diversity that was once seen as embraceable within the serial principle of composition, and which has become a bit of a personal bandwagon with me, if you'll pardon the pun, I guess.

I listened to his Second String Quartet on Youtube last night whilst waiting for the Jazz on 3 Ornette program. I enjoyed it a lot and rather more than the Jon3 which was more than a bit superficial.

Not sure how Schuller is regarded as a "classical composer" by those who know and in the twelve tone area he usually worked?

BN.

[Serial_Apologist]

I listened to his Second String Quartet on Youtube last night whilst waiting for the Jazz on 3 Ornette program. I enjoyed it a lot and rather more than the Jon3 which was more than a bit superficial.

Not sure how Schuller is regarded as a "classical composer" by those who know and in the twelve tone area he usually worked?

BN.

I'm not sure either, but I do remember him saying that his interest across the jazz/classical "divide" was looked on askance by the latter when he began pursuing both areas in the late 1940s, despite any mixed message of "respectability" afforded by such recognised composers as Ravel, Roussel, Stravinsky, Shostakovitch, Honegger, Weill, Berg, Walton and Lambert (the Constant one) as far back as the 1920s. Schuller was more "zealous" in his championings than somebody like Bernstein who, as a lightweight from the classical world pov, was more "excusable". Given that the commercialised big band jazz of the time was off their radar, Schuller's view that a Duke Ellington score was as equally subject to appreciation and analysis as a Beethoven symphony, along with his promulgation and involvement in bebop, in which black Americans effectively told the academic musical establishment in America that we take on all your sophistication on our own terms, not by copying or watering down our own inheritance, would one guesses not have endeared him in the hallowed portals.

[BLUESNIK'S REVOX]

In his interviews he seemed very confident in his own compositional (and conducting) abilities. And I think some of his chamber etc work is fairly popular with performers when its performed. But as he said, there's a very strong aversion to anything outside the known or the norm. "No fame or money in that". I can't recall anything of his on a R3 concert program? Could be wrong.

He also said that when he was researching his "Early Jazz" there were articles advising young people to avoid all contact with the idiom for fear of VD and worse.

BN.

[ferneyhoughgeliebte]

He also said that when he was researching his "Early Jazz" there were articles advising young people to avoid all contact with the idiom for fear of VD and worse.

BN.

Vic Damone?

[Serial_Apologist]

Vic Damone?

No - veneration disease!

[BLUESNIK'S REVOX]

No - veneration disease!

Vera Duckworth.

The Ladies Home Journal apparently said that jazz was the slippery slope to syphilis and gonorrhea. Love that "slippery".

BN.

[Serial_Apologist]

I can't recall anything of his on a R3 concert program? Could be wrong.

His 2007 orchestral work "Where the Word Ends" was broadcast as part of a concert back in 2010, BN. In 2005 Geoffrey Smith presented a programme titled "All Musics Are Created Equal - Gunther Schuller at 80", which included contributions from Joe Lovano, Oliver Knussen, Mike Gibbs and Mark-Anthony Turnage, among others according to what I wrote on the D90! Must give it a whirl. I seem to remember it included an excerpt from Ornette Coleman playing with the Lenox student orchestra around 1960. Amazing!

[PUSB]

I enjoyed it a lot and rather more than the Jon3 which was more than a bit superficial.


BN.

It suffered from the Jez treatment, didn't it? A bit of a reverse Midas, isn't he?

[BLUESNIK'S REVOX]

Yes, I thought that. All a bit lightweight. Not a patch on the Columbia University tribute which managed to combine the music with some pretty good analysis. Admittedly they had it over a week!

The Geoff Smith program has also come in for a rubbishing as he suggested or inferred that Ornette had merely repeated or stagnated since the 60s classic sessions. Didn't hear it myself.

BN.