If I spoke of Strauss, I meant Richard not Johann. Seriously, why do so many of you point on Wagner as an anti-semite (he was, off course) & not to his perfect dramatic music.
Eventually, I played Tristan last night in Chemnitz (which you might not name a communist city because itīs name was changed to Karl-Marx-Stadt while under communist regime until 1989), and I felt, one could leave off even the singers without harming this greatest of all single operas. But one needs the right education & the natural feeling, but feeling elevated from profane feeling to an higher perhaps "Milky Way" level, if you understand that. Wagner took history very serious (see Meistersinger, Tannhaeuser, Rienzi), used old sagas as stories for his operas (Lohengrin, Flying Dutchman, Ring, Tristan, Parsifal). His anti Semitism has nothing to do with his operatic creations. He paved the way for modern music, when he composed Tristan. Mozart did not take himself superior or take himself too seriously. He often fooled around, because he understood how superior he was. He composed without compromise & hated imperfection. Richard Strauss - you did not comment on him - was able to create a short cut transition from any tonality to another tonality. He followed Wagners path in the dramatic music but created an immense amount of new sounds without asking for very cheap clap-clap effects. The mpc popping sounds like the crack of a whip. We have a percussion effect instrument producing such sounds. Why (ab) using the horn ? Even Mahler using some special effects, he did it with taste & very effectful. The difference to todayīs composers (not all of them) is it, that Mahler had enough good & excellent melodic ideas which could endure the rather small amount of special effects. Whatīs annoying with Mahler ? Well, his music is filled with special instructions so to press the orchestra into a mere corset. More freedom would be better. Last word: if you analyze contemporanean compositions, you might find much more more or less cheap effects than real substance. ========================================================= -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Leigh Alexander Sent: Monday, June 28, 2004 4:30 PM To: The Horn List Subject: Re: [Hornlist] Mouthpiece popping Gee, I don't know...... Why does Jan Bach's terrific "Two-bit Contraptions" call for.....what was it? A comb to be run across the horn mute? Better sense of humour? Or maybe: Mozart was a snotty little putz who thought himself musically superior to everyone else and took himself too seriously, Wagner was a musically longwinded pompous anti-semite who took himself too seriously, Strauss came from a line of waltz writers, was looking for daddy's approval and took himself too seriously and Mahler was a depressive who couldn't decide whether to be a jew or a catholic and took himself way too seriously? Or how about this: they were all Germanic? (Austria, Saxony, Bavaria & Bohemia respectively) Nah, that couldn't be it;-P Leigh (bloody hell, just had the nomex cleaned, guess I'll go put it on again *sigh*) On Monday, June 28, 2004, at 07:40 AM, Hans Pizka wrote: > Question: > Why didnīt Mozart or Wagner or Strauss or Mahler ask for mouthpiece > popping ????? > ======================================================== > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf > Of Robert Dickow > Sent: Monday, June 28, 2004 7:35 AM > To: The Horn List > Subject: [Hornlist] Mouthpiece popping > About mouthpiece popping... > I have at least two compositions that call for mouthpiece popping while > the horn is still attached to the instrument. The pieces have been > played > all over the world (well.... England and the U.S. ;-) and I've never > had a > problem. On one occasion, however, a hornist objected that doing this > effect could cause his mouthpiece to get stuck. "No, I don't think > so.... only > trumpets have this problem," I assured him. Well, you guessed it. One > 'pop' into the piece and his mouthpiece was thoroughly jammed into his > leadpipe. > His tone on the popping effect, however, was superb. > Robert Dickow > Lionel Hampton School of Music > University of Idaho _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
