If this is your first visit, be sure to
check out the FAQ by clicking the
link above. You may have to register
before you can post: click the register link above to proceed. To start viewing messages,
select the forum that you want to visit from the selection below.
What is being suggested is that SOME of this repertoire SHOULD be regularly featured. At no point in the Glock years were the most recent ideas and developments completely boycotted year after year after year.
Right. 21st century music is nothing if not diverse; but this diversity simply isn't represented. Why not?
Not the same , of course, as hearing that music in a concert situation, with or without the bathroom effect of the RAH, and the huge exposure that a broadcast gives.
And guaranteed critical coverage, for what that's worth.
Because that isn't what it is about.
It is a BBC festival,with events that fit certain BBC remits, sadly.
The BBC is a powerful voice of the establishment.
From a certain perspective ,powerful music that makes people think and question needs careful control. little boxes are a big help in this process.
What we are offered is not diversity, but " Diversity".
Yes. Anyway I'm sure I've descended into a repetition of what I say every year so I'd better stop. If I were less of an optimist I guess I wouldn't be disappointed every time.
Does anybody know how the pre booked Promming tickets will work?
How many will there be?
Will there be yet another different queue?
Booking fees?
Not really sure what the point is,although I suppose it will make travelling less of a gamble for those travelling some distance, which has some benefit.
if that is one of the reasons,it seems a bit counter intuitive to put them on sale that morning, when people in that situation might need to be on the move. the previous night would be more sensible.
Thoughts?
Yes. Anyway I'm sure I've descended into a repetition of what I say every year so I'd better stop. If I were less of an optimist I guess I wouldn't be disappointed every time.
With the Proms, I do tend to be a bit " Glass half full", and try not to be disappointed, but to see the opportunities and the benefits. probably because I enjoy going.
But the missed opportunities make it hard not to be disappointed at times.
I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
What is it that you find so objectionable about them ?
Not enough broken glass.
But seriously: nobody has said any of them are objectionable; several have said that they represent a very limited view of the music being composed now.
There's nothing "objectionable" is there - a competent conductor, a decently composed orchestral work from the early Nineteenth Century, the same fine players - but it's not what you're hoping for. There will be competently composed works by Lindberg, Ter Schiphorst, Grimes, and Berkeley ... and I expect fine pieces from Payne and Anderson, and maybe even something better from De Leeuw.
But I prefer to be excited by what might be coming up, I want to be thrilled and in a state of "I can't wait to hear" this or that piece; I want horses to be scared. There's nothing doing that for me from the pieces by living composers in this year's Proms ... not one thing that's out of the ordinary. And that's a disservice to New Music when there is quite a lot of exciting stuff from the Nineteenth and Twentieth Centuries in this season. (There's also a disservice to older Music, too, this year. Again.)
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
I want horses to be scared. There's nothing doing that for me from the pieces by living composers in this year's Proms ... not one thing that's out of the ordinary.
But you haven't heard them yet! While the track record of the composers of the new commissions might lead you to expect certain things might a surprise not be sprung?
"The sound is the handwriting of the conductor" - Bernard Haitink
But you haven't heard them yet! While the track record of the composers of the new commissions might lead you to expect certain things might a surprise not be sprung?
I'm prepared to be proved wrong, but I wouldn't say that any of them look like the kind of composers who would use a Proms commission to do something the like of which they'd never done before, which is no doubt one reason for selecting them. Now I should really get off this thread!
Comment