This could have been written about Glass, Schoenberg, Stravinsky, Strauss, Puccini, Mahler, Bruckner, Tchaikovsky, Berlioz, Liszt, or Beethoven.
😀 On Mon, Mar 26, 2018, 8:22 AM Urs Liska <li...@openlilylib.org> wrote: > > > Am 26.03.2018 um 14:52 schrieb Karlin High: > > On 3/25/2018 6:43 AM, Kieren MacMillan wrote: > >> Apparently you haven’t been to any new classical music concerts in > >> the last half-century. It’s*quite* clear that many composers — > >> especially inexperienced ones — have no problem composing dissonant > >> pieces without access to the the actual timbre and overtone > >> composition of the music they’re writing. > > > > " > > There was a time when the first performance of a recent commission > > struck fear into the most broad-minded listener. We used to brace > > ourselves for horror and were rarely disappointed. In those days, the > > struggle to write more atonally than the next man was palpable. No > > self-respecting composer would pen a concord if he wanted to be taken > > seriously by his peers: to do so was to be compared to those who made > > soft-harmony arrangements of famous melodies. Now soft harmony has > > become dignified, with all manner of clever names — tintinnabuli, holy > > minimalism; while popular tunes are quickly identified as being > > ‘chant’, and quoted whole. > > " > > - Peter Phillips > > < > https://www.spectator.co.uk/2014/12/why-church-music-is-back-in-vogue-and-squeaky-gate-music-has-had-its-day/ > > > > > > > > "Die einen, [seine] ganz besonderen Freunde, behaupten, gerade dieses > Werk sei ein Meisterstück, das sei eben der wahre Stil für die höhere > Musik, und wenn sie jetzt nicht gefällt, so komme das nur daher, weil > das Publikum nicht kunstgebildet genug sei, alle diese hohen Schönheiten > zu fassen; nach ein paar tausend Jahren aber würde sie ihre Wirkung > nicht verfehlen ... [Die Gruppe der wohlwollenden Zuhörer] fürchtet > aber, wenn [er] auf diesem Wege fortwandert, so werde er und das > Publikum übel dabei fahren. Die Musik könne sobald dahin kommen, daß > jeder, der nicht genau mit den Regeln und Schwierigkeiten der Kunst > vertraut ist, schlechterdings gar keinen Genuß bei ihr finde, sondern > durch eine Menge unzusammenhängender und überhäufter Ideen und einen > fortwährenden Tumult aller Instrumente zu Boden gedrückt, nur mit einem > unangenehmen Gefühl der Ermattung den Konzertsaal verlasse." > > This is one of my favourite reviews of a first performance. My shot at a > translation: > > "One group, the composer's very special friends, proclaim particularly > this composition to be a master work, bearing the genuine style for > higher music, and if people don't like it now, it's just because the > audience isn't studied well enough to grasp all this high beauty; a few > thousand years later it would definitely not miss its effect anymore > [...] Others [the group of benevolent listeners] fear that, if he'd > continue on that track, it might end badly for the composer and the > audience. The music could soon reach a point where anybody who isn't > intimately familiar with the rules and intricacies of the art just won't > get *any* joy from it. Instead they would leave the hall only with an > unpleasant feeling of fatigue, depressed by the amount of disjoint and > cluttered ideas and a continuous turmoil of all instruments." > > Unfortunately I don't have the book at hand where I originally copied > this from, so I can't look up the middle section (what the third group, > the vocal opponents, have to say). But I think even with this you get > the gist. > > Bets are open what this is about ;-) > > Urs > > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user >
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