Hi Simon, Your comments are very interesting. How did you record this piece? I only managed to listen to it the once, maybe it would grow in me if I heard it several times on a decent sound system (like you mentioned, my computer speakers were not up to the challenge).
Richard Simon Knight wrote: > > My reaction on first hearing was negative. After I recorded the stream, > enhanced the sound and played it on a decent hi-fi the pipes were much > more > audible. They're quiet but well recorded and separated in the mix on the > far > right. If you listen on headphones or computer speakers they're lost. > > The same musical doubts remain though - there's little of the Northumbrian > tradition and harmonically the piece is foreign to the sound of the pipes. > I > think Chris hit the right issue - there must be some tuning and harmonics > challenges with a just G scale and the other instruments, especially with > the 'modern' scales and harmonies. But there are some melodic sections I > like and the blend with cor anglais works at times. > > Instruments out of their métier seldom seem to satisfy ( I play the > bassoon > and wonder why people try to play jazz on them), but after a few hearings > the piece is beginning to grow on me. > > Simon > > -----Original Message----- > From: Stephen Douglass [mailto:[EMAIL PROTECTED] > Sent: Saturday, October 28, 2006 9:02 AM > To: nsp@cs.dartmouth.edu > Subject: [NSP] Piping Modernism > > Maxwell Davies comes from the musical influences of modernism, and > pieces like Schoenberg's Pierrot Lunaire.. > > (some might switch that piece off after 30 seconds) > > The piping in the composition was unlikely to be expected, resolving > or traditionally presented. > > It still managed to make it to Radio 3 though (and the "play again" > button) ..... no publicity is bad publicity...eh? > > Steve Douglass > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
