Why do you need to Troll? This list like most mailing lists has its Highs and Lows, all you are doing is contributing to the Lows...
-----Original Message----- From: /0 [mailto:[EMAIL PROTECTED] Sent: 10 January 2008 23:17 To: kent williams; Dennis DeSantis Cc: 313@hyperreal.org Subject: Re: (313) C2 at Carnegie Hall, well sort of of course I was trolling, but the meat of my troll was heartfelt, in that I think its an insult to even ask a classical musician to cover something as simplistic as 4/4 16-step quantized techno. I produced electronic music for almost 15 years, so I have less of a hate for techno than a respect for people that can do true humanized composition across a myriad of "real" instruments. the point was to entertain my self while waking this list up. I could have trolled in on a subject that never would have spawned a working thread. ----- Original Message ----- From: "kent williams" <[EMAIL PROTECTED]> To: "Dennis DeSantis" <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Thursday, January 10, 2008 11:06 AM Subject: Re: (313) C2 at Carnegie Hall, well sort of > 1. /0 as per usual, was trolling. Acquiring the Urine, as it were. > > 2. The Alarms WIll Sound CD had some awesome moments. It transmuted > the patience Richard James put into hours and hours of step > programming into real-time instrumental virtuosity. It isn't better > or worse than the original, it's different, in an interesting (and > very enjoyable) way. > > 3. I haven't heard the Blue Potential thing, except for snippets, and > the snippets didn't make me want to seek it out. As a former > orchestral musician, my feeling is that orchestras are really good at > playing notes, and playing music from the domain in which the players > are trained. If the conductor is decent, and the back half of every > section isn't there just to collect a paycheck, magic can happen. > Said magic rarely happens when the music on the stands comes from a > musical domain completely foreign to the musicians. > > This isn't limited to things like Techno-Orchestral works. I've heard > performances of Webern and Alban Berg that were just awful, because > most of the orchestra -- and sometimes the conductor as well -- just > can't get into it. Nothing is worse than an orchestra playing a piece > most of the players hate. You feel the hate coming through. > > On Jan 10, 2008 9:29 AM, Dennis DeSantis <[EMAIL PROTECTED]> > wrote: >> Toby Frith wrote: >> > there is something a bit daft in the idea that classical musicians >> > interpreting >> > techno music sort of "validates" it which I often feel is the hidden >> > agenda behind >> > these sorts of exercises, because ultimately classical music and >> > orchestras are >> > seen as the high end of the spectrum, whilst some guy pressing buttons >> > on a drab grey box is seen as the opposite end. >> >> I can't speak to the concept behind the Blue Potential project, nor to >> the way audiences might feel about the notion of validation for these >> projects in general. >> >> But I worked on the Alarm Will Sound/Aphex Twin thing, and our only >> motivation there was that we just loved the music and wanted to hear >> what it would sound like played by acoustic instruments. There was >> certainly no sinister marketing angle or highbrow/lowbrow thinking - >> that's for cultural theorists and hipster bloggers, not musicians. >> > No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16
