David,
I agree totally with you. Changing instrumentation/voices can add so much and keep folks glued to what's going to happen next. At any rate, I was addressing solo lute performances - its hard to get that same kind of "what comes next" expectation from an audience when its just one guy and one lute. I believe varying repertoire, even on an "inappropriate" lute, helps. Chris --- David Tayler <[EMAIL PROTECTED]> wrote: > One can have a lovely program that is a stitch in > time that is not > just lute solos. > I think most entertainments would have had songs and > consorts. > The lute preludes & ricercars might just be the > ideal glue, but not > the whole horse. > dt > > > > At 07:59 PM 11/29/2007, you wrote: > >On Nov 29, 2007, at 5:16 PM, <[EMAIL PROTECTED]> > ><[EMAIL PROTECTED]> wrote: > > > > > ...How can you program a whole concert that > > > features, for example, "Italian Music, 1538-42" > or > > > "German Music, 1712-20" and have it interest > anyone > > > but diehard specialists? I personally love > music from > > > both of these periods, but I have to confess > that a > > > whole concert of either puts even a fan like me > in the > > > mood to snooze after about 20 minutes. > > > >I take your point, Chris, but I can't help thinking > that lots of > >people will happily sit through an entire evening > of Andrew Lloyd > >Webber, or a Wagner opera, or a ballet by > Stravinsky. I can sit > >through entire CD's of Corelli, Handel etc., doing > absolutely nothing > >but sitting listening to the music. I've sat > through many concert > >performances of the big sacred blockbuster > requiems, and loved every > >minute! (Although I'm not sure I could sit > through all the > >Brandenburgs...) > > > > > ...Too much artificially academic > specialization has > > > lead to the absolute downfall of contemporary > music in > > > its entirety as a legitimate cultural force. > > > Contemporary classical music is still present at > the > > > university level were it is supported by grants > and > > > endowments as if it were some kind of research > rather > > > than art. But no one really pays it much > attention or > > > respect. (I've played on contemporary music > festivals > > > where the paid professional performers literally > just > > > barely restrained themselves from laughing > during the > > > performance. On this list, I can't repeat some > of the > > > words used in rehearsals, but the phrase "this > piece > > > makes me want to puke" shows very regularly.) > > > >Once again, point taken. But it's not all that > way. Consider > >Piazzolla: he's a cultural force. Listening to > L'Histoire du Tango > >is for me like strolling through a gallery of > modern art. It's a bit > >like a modern-day version of Pictures At An > Exhibition. > > > > > ...Why draw a line in the > > > sand about something as trivial as whether > having an > > > extra two strings on your instrument is an > offence > > > against the lute gods or whether you may allow > your > > > eyes to stray forward or back ten or twenty > years > > > along the time line? > > > >No reason that I can see. > > > >David R > >[EMAIL PROTECTED] > > > > > > > > > >-- > > > >To get on or off this list see list information at > >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > ____________________________________________________________________________________ Be a better pen pal. Text or chat with friends inside Yahoo! Mail. See how. http://overview.mail.yahoo.com/
