On 11.04.2006 Dennis Bathory-Kitsz wrote:
It's worth thinking about if you're hunting for music to preserve. Our own
time is screaming for your attention. When I die, Gilles's work (and mine,
too) goes to the dump. Pick a box. I'll pay shipping.
I think you can have a different perspective:
Preserve all of it. You can quote me.
RBH
Johannes Gebauer wrote:
On 11.04.2006 Dennis Bathory-Kitsz wrote:
It's worth thinking about if you're hunting for music to preserve.
Our own
time is screaming for your attention. When I die, Gilles's work (and
mine,
too) goes to the dump. Pick a
At 07:49 AM 4/11/06 -0400, Raymond Horton wrote:
Preserve all of it. You can quote me.
What's your address? I have 14 crates to ship, plus another dozen of mine I
can get ready to go in a week. Then we can work on your performance
schedule for them.
Dennis
--
Please participate in my
At 10:44 AM 4/11/06 +0200, Johannes Gebauer wrote:
I think you can have a different perspective: Perhaps in 200 years time
someone will find your box
My point is the opposite. I don't mind my stuff going to the dump (which it
will anyway, as I don't have any heirs) if the next generation of
At 4/11/2006 02:41 PM, Dennis Bathory-Kitsz wrote:
But with music (and often the associated arts of ballet and stage shows)
the behavior is entirely backwards. (I have an extended theory about this,
which should appear in Greywolf Press sometime this summer, and in another
piece on New Music Box
On 11.04.2006 Dennis Bathory-Kitsz wrote:
But with music (and often the associated arts of ballet and stage shows)
the behavior is entirely backwards. (I have an extended theory about this,
which should appear in Greywolf Press sometime this summer, and in another
piece on New Music Box also
I'll listen to some of your music because I like hearing new things. I'll listen with an open mind.
I love the Naxos series on Spanish composers, for exampleI like music that sounds like, well music. If it has drama, melody, and a beat-- I like it.
A composition student told me you just like
At 02:57 PM 4/11/06 -0400, Phil Daley wrote:
So this is about performers and not about listeners?
Phil,
Listeners are at the end of the music supply chain. They choose from what's
available, so just recycle to the top of my argument and start again, but
one step later in the process.
It's the
Phil Daley wrote:
[snip]
There is only so much time to play and to listen. And though it does not
follow logically that time spent on earlier music is time lost to new
music, it does follow psychologically. People will play what there is to
play. Playing earlier music -- especially Baroque
At 09:01 PM 4/11/06 +0200, Johannes Gebauer wrote:
Depends on whether you count popular music. And if you are comparing to
film (and literature to an extend), the equivalent in music would be
popular music.
Johannes,
I don't agree with that -- and I'm not including pop in this, though
Albinoni
Kim Patrick Clow wrote:
I'll listen to some of your music because I like hearing new things.
I'll listen with an open mind.
I love the Naxos series on Spanish composers, for exampleI like
music that sounds like, well music. If it has drama, melody, and a
beat-- I like it.
A composition
Dennis,
unfortunately I haven't got time to go into too many details - going on
tour tomorrow morning, incidentally to play what is called Bach's
reconstructed St Mark's Passion. That would be an interesting piece to
discuss in this context (and imo a rather questionable piece to perform,
Johannes Gebauer wrote:
Dennis,
[snip]
I think you are actually making this a little too simple. It almost
sounds (and I know you don't intend it to sound like this) as though you
want to say, everyone goes to the cinema to watch the newest film, but
noone listens to my music, to which one
What Dennis writes is exactly why traditional (i.e. old) classical
music is not taken seriously by many thoughtful, intelligent
listeners under 30. The museum mentality is stifling. From an
outsider's perspective, an evening at the Met seems like a game of
historical make-believe, put on
On 11.04.2006 dhbailey wrote:
I didn't get that point from Dennis's post at all -- his point was that cinema
houses don't SHOW the old movies, so the audience has no choice but to watch
the newest movies. It's not that they have any choice, if they want to see
movies on the big screen in the
On 11.04.2006 Darcy James Argue wrote:
It's actually easier to get young people unfamiliar with classical music
interested in the work of living composers than dead ones, which is only
natural since (as Dennis says) they also gravitate towards living authors,
living directors, living
Well, it's absolutely true in my own experience.
And yes, I know the plural of anecdote is not data, but consider
the success of new music ensembles I mentioned, all of whom have a
much younger audience than traditional chamber music groups. Even
when they play traditional venues -- I saw
Incidentally, the program for the (sold-out, BTW) Alarm Will Sound
show I mention was:
Dead composers: Zappa, Cage, Varèse
Live composers: Derek Bermel, Wolfgang Rihm, Bernard Woma, John Cale,
John Adams
Cheers,
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
At 11:00 PM 4/11/06 +0200, Johannes Gebauer wrote:
So where is the line between pop and non-pop? Is Gershwin pop or non-pop
(admitedly one can't really call Gershwin contemporary, nor Bernstein
for that matter, but what were they then?)
It's a grey area. Think of it as a different way of
At 05:39 PM 4/11/06 -0400, Darcy James Argue wrote:
My only quibble is with (what I perceive as) Dennis's distaste for
pop
Not at all, Darcy. I just don't write or play it myself, so excuse myself
from intelligent discussion. I'm a huge fan of the whole hiphop and
child-of-hiphop realm (rap,
At 11:00 PM 4/11/06 +0200, Johannes Gebauer wrote:
Unbroken link from previous, with nonstreaming version also:
http://maltedmedia.com/people/bathory/music/mp3/newcentury/clouds_of_endless_summer.m3u
http://maltedmedia.com/people/bathory/music/mp3/newcentury/clouds_of_endless_summer.mp3
Dennis
On 11 Apr 2006, at 6:41 PM, Dennis Bathory-Kitsz wrote:
The question is the *arts-oriented* public, which is the way I've
addressed
this. They are the people who go to contemporary art galleries, read
provocative fiction, watch independent films, know the difference
between
dandelion and
At 07:33 PM 4/11/06 EDT, you wrote:
In a message dated 4/11/2006 3:42:54 PM Pacific Standard Time,
[EMAIL PROTECTED] writes:
You can find all manner of
pleasant and difficult and challenging and sensual and viral pieces of
nonpop, to whatever taste you have.
Any chance you meant virile?
At 07:20 PM 4/11/06 -0400, Darcy James Argue wrote:
Apologies for misattributing an anti-pop position to you. I guess
it's just that since I don't believe in the high/low art distinction,
the nonpop label tends rubs me the wrong way.
The question of what to brand this music is a thorny one. I
At 07:42 PM 4/11/06 -0400, Darcy James Argue wrote:
Here's the one place where I disagree with you, Dennis. The audience
for Albinoni (by and large) will never be interested in creative new
music. They are the Pottery Barn crowd, when they're not listening
to Albinoni, they're listening to
On Apr 11, 2006, at 9:00 PM, Dennis Bathory-Kitsz wrote:
We ran down the terms. Classical has too much
baggage, and is pretty much wrong. New music means something to a
certain
crowd, but then just loses meaning at all. Art music? That applies to
any
genre with enough skill behind it.
Johannes Gebauer wrote:
On 11.04.2006 Darcy James Argue wrote:
It's actually easier to get young people unfamiliar with classical
music interested in the work of living composers than dead ones,
which is only natural since (as Dennis says) they also gravitate
towards living authors, living
I think Dennis makes an excellent point here. The comparison with film
is not equal, but it is apt.
RBH
Dennis B. K. writes:
Film has a shorter history, but even so, there's not much clamoring for
reshowings of Potemkin or The Great Dictator or Birth of a Nation or
Metropolis or even
Man, I keep my monitor set on that 1800 x 1200 setting for max detail in
Finale but I gotta learn to reset it for email, so I don't mis-type so
much - it makes me look like an idiot1
Let me repost and edit so it makes at least SOME sense:
---
Johannes Gebauer wrote:
---
On
Raymond Horton wrote:
Man, I keep my monitor set on that 1800 x 1200 setting for max detail in
Finale but I gotta learn to reset it for email, so I don't mis-type so
much - it makes me look like an idiot1
I just changed the default magnification in my browser. It's MUCH
easier. :)
cd
--
I have been recently reading about Albinoni. It's mentioned in many sources that more thank likely was as prolific as Vivaldi. But that many sources were destroyed in Dresden's bombing in 1944.
My question, was there ever an inventory of the library before the bombing? I'm curious exactly how
On 10.04.2006 Kim Patrick Clow wrote:
I have been recently reading about Albinoni. It's mentioned in many sources
that more thank likely was as prolific as Vivaldi. But that many sources were
destroyed in Dresden's bombing in 1944.
Are you sure this is about the Dresden bombing in 1944? Most
Most of the infomationI have read, seems to place a lot of the Albinoni losses at Dresden. Why or how the manuscripts ended there, I don't know. I read that almost 40 Vivaldi violin concerti were destroyed in Dresden, and they were only sources. But Vivaldi's pupil Pisendel was in Dresden, so that
On 10.04.2006 Kim Patrick Clow wrote:
Most of the infomation I have read, seems to place a lot of the Albinoni losses
at Dresden. Why or how the manuscripts ended there, I don't know. I read that
almost 40 Vivaldi violin concerti were destroyed in Dresden, and they were only
sources. But
I never thought about Heinichen losses in Dresdenbut it makes a lot of sense, geez I wonder how much of his stuff we have lost in addition to other music.
Someone that's used the library in Dresden told me their manuscripts are in very bad shape. Mice have chewed holes in music manuscripts
On 10.04.2006 Kim Patrick Clow wrote:
Someone that's used the library in Dresden told me their manuscripts are in
very bad shape. Mice have chewed holes in music manuscripts and destroyed many
compositions. They told me the collection there is one of the worst physical
condition in Germany.
I cringe at the sheeramount of music lost from the baroque (and I am not just speaking about Dresden). I think Christoph Wolf puts the losses for Johann Sebastian Bach up to 60 percent in some areas (such as trio sonatas). The losses from Cothen and Weimar are particularly sad, and the music of
At 06:09 PM 4/10/06 -0400, Kim Patrick Clow wrote:
I cringe at the sheer amount of music lost from the baroque [...]
They wrote many many pieces of music, wouldn't it be grand
to hear what was played?
Absolutely *not*. There is more than enough over-tended old material.
Contrast this: I have
On 11.04.2006 Kim Patrick Clow wrote:
Gottfried Stozel (who Bach really admired)---most of his output is forever
gone. Not sure what happened to it--was it thrown out? Or just burnt like
rubbish after he died?
After having played some Trio Sonatas by Stölzel, I can't say that's a
big
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