tag:blogger.com,1999:blog-8060605.post6577632268275487179..comments2024-03-26T15:57:13.443+00:00Comments on On An Overgrown Path: Snape expectationsUnknownnoreply@blogger.comBlogger7125tag:blogger.com,1999:blog-8060605.post-13312591628742634792009-02-11T17:16:00.000+00:002009-02-11T17:16:00.000+00:00Here is the reply from Aldeburgh Music:HelloI aske...Here is the reply from Aldeburgh Music:<BR/><BR/><I>Hello<BR/>I asked Dan Whitfield, our Head of Artistic Planning, and he said:<BR/> <BR/>The Stockhausen is a classic tape work from the 50’s, but for tape alone (it’s a sample of a boy treble’s voice, looped, transformed and treated and combined with other abstract electronic sounds). Leonard and Hind only doing the Lachenmann piece. (PLA plays Schumann)<BR/><BR/>Apologies for any confusion!<BR/><BR/>Thanks<BR/><BR/>Aldeburgh Music</I>Pliablehttps://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-50107947899610733472009-02-10T22:22:00.000+00:002009-02-10T22:22:00.000+00:00ghooper - the error may be my interpretation of th...ghooper - the error may be my interpretation of the Aldeburgh Festival brochure, which says, with my parentheses:<BR/><BR/><I>These new settings [by Helmut Lachenmann] are coupled with an electro-acoustic classic from one of his former teachers [Stockhausen presumably] and a 19th century original - Schumann's unsettling experimental fantasy.</I><BR/><BR/>So, an 'electro-acoustic' classic. I assumed, probably wrongly, that the 'acoustic' element was coming from one or more of the performers. But, you are quite correct, <I>Gesang der Jünglinge</I> is scored for three electronic tracks.<BR/><BR/>So I'm asking Aldeburgh to explain. I will report back.Pliablehttps://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-26007781531678422762009-02-10T17:50:00.000+00:002009-02-10T17:50:00.000+00:00"Gesang der Jünglinge with soprano Sarah Leonard a..."Gesang der Jünglinge with soprano Sarah Leonard and pianist Rolf Hind" What exactly will they be bringing to Stockhausen's tape classic?ghooperhttps://www.blogger.com/profile/12011169107333035448noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-9747446955612517822009-02-09T15:00:00.000+00:002009-02-09T15:00:00.000+00:00This is a neater link to the Anna Meredith piece T...This is a neater link to the Anna Meredith piece <I>Tarantula in Petrol Blue</I> -<BR/><BR/>http://www.aldeburgh.co.uk/events/tarantula.cfmPliablehttps://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-41017694851965956322009-02-09T14:22:00.000+00:002009-02-09T14:22:00.000+00:00“ … includes the electronic interludes from 'The M...“ … includes the electronic interludes from 'The Mask of Orpheus' … “<BR/><BR/>Pliable, since you mention Stockhausen’s 'Gesang der Jünglinge' and Birtwistle’s 'Chronometer' in this fascinating post, I think it would be appropriate to credit (and tag) the late composer Barry Anderson as the ‘co-creator’ of the electronic (actually computer music) interludes to Birtwistle and Zinovieff’s 'Mask of Orpheus'.<BR/><BR/>Also, very interesting about the underrepresentation of women composers at the British prestigious festival. (I see that Tarik O’Regan has been commissioned, along with Tom Phillips, by the Royal Opera House, Covent Garden. Do you know if any female composers have recently received such a commission? Thanks.)Garth Trinklhttps://www.blogger.com/profile/11084463787729969177noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-7611863817765541272009-02-08T18:02:00.000+00:002009-02-08T18:02:00.000+00:00My comment that the Helen Grimes commission is the...My comment that the Helen Grimes commission is the only work by a woman composer needs setting into context. And nobody from Aldeburgh has asked me to add this codicil.<BR/><BR/>Aldeburgh has a remarkably good record of working with women composers. Tansy Davies and Mira Calix are regular contributors. In a couple of weeks Anna Meridith's <I>Tarantula in Petrol Blue</I> is being premiered at Snape, and we have our tickets.<BR/><BR/>Which makes the dominance of the 2009 festival by established male composers slightly surprising.<BR/><BR/>The following link has an audio file of Anna Meredith's music for <I>Tarantula in Petrol Blue:</I><BR/><BR/>http://www.aldeburgh.co.uk/events/events.cfm?flash_detected=YES&mainframe_file=/events/tarantula.cfm<BR/><BR/>Tansy Davies and Mira Calix here -<BR/><BR/>http://www.overgrownpath.com/2007/06/i-hear-those-voices-that-will-not-be.htmlPliablehttps://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-11346626744109938532009-02-08T17:10:00.000+00:002009-02-08T17:10:00.000+00:00Interesting that Elliott Carter is setting Ezra Po...Interesting that Elliott Carter is setting Ezra Pound's verse. <BR/><BR/>I quoted the poet back in 2007, and a reader added a comment saying:<BR/><BR/><I>My recollection is that (Ezra Pound) was a strong anti-semite and an enthusiastic supporter of Fascism.</I><BR/><BR/>http://www.overgrownpath.com/2007/01/why-arent-we-marching-in-streets.html<BR/><BR/>http://query.nytimes.com/gst/fullpage.html?res=980DE4DB1538F935A15753C1A96F958260Pliablehttps://www.blogger.com/profile/10616598845886342325noreply@blogger.com