tag:blogger.com,1999:blog-8060605.post8611363420809463518..comments2008-03-25T11:00:30.958ZPliablenoreply@blogger.comBlogger6125tag:blogger.com,1999:blog-8060605.post-54418043001478192372008-03-24T02:05:00.000Z2008-03-24T02:05:00.000ZI also would have been happy to hear more of the <I>Klavierstücke</I> that night. The piano sounded fine, compared to the broken upright at the Bethnal Green Working Man's Club that people tried to play Lachenmann on at Rational Rec's soirees last year.Ben.Hhttp://www.blogger.com/profile/11879705585399028153noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-79208865895308103082008-03-23T11:50:00.000Z2008-03-23T11:50:00.000Z<I>Email received:</I><BR/><BR/>Chris Cutler interviewd by " a woman who looks like a german porn star from the 70ties"‏<BR/><BR/>http://www.youtube.com/watch?v=NfmyiVViOo0<BR/><BR/>BTPliablehttp://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-33986942467892074662008-03-21T11:34:00.000Z2008-03-21T11:34:00.000ZBen, good question and I'm delighted to hear you made it out to darkest Kilburn as well.<BR/><BR/>Yes, I'd agree that the <I>Kontakte</I> was very 'free' improvisation. But I thought it none the worse for that, it fitted the theme of the evening which was really Stockhausen and beyond.<BR/><BR/>If there was any comment I'd make it would be that more 'pure' Stockhausen would have been a useful balance to the improvised sets. For me the highlight was Daan Vandewalle's playing of <I>Klavierstücke I-IV</I> and I was left wanting more.<BR/><BR/>But, given the state of the piano, Daan was probably glad there was no more!Pliablehttp://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-44000655984892282982008-03-20T22:03:00.000Z2008-03-20T22:03:00.000ZSo, what did you think of Cutler and Vandewalle's improvising to <I>Kontakte</I>? I <A HREF="http://cookylamoo.com/boringlikeadrill/2008/03/diy-stockhausen.html" REL="nofollow">thought a bit a about it</A> and reckon there are some interesting implications in using these types of gigs to present composers like Stockhausen. I liked their playing, and the use of electronic processing of the acoustic sounds along with the original tape, but by the end of the piece it was sounding like it was more about Cutler than Stockhausen.Ben.Hhttp://www.blogger.com/profile/11879705585399028153noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-84830166526770902392008-03-20T12:43:00.000Z2008-03-20T12:43:00.000ZDavid, of course you are right. My error - this all getting too complicated for me!Pliablehttp://www.blogger.com/profile/10616598845886342325noreply@blogger.comtag:blogger.com,1999:blog-8060605.post-47059235251004053802008-03-20T12:42:00.000Z2008-03-20T12:42:00.000Z<I>Email received:</I><BR/><BR/>Wouldn't 2128 be the bi-centennial of Stockhausen's birth? 1970 was the bicentennial of Beethoven's birth, see,and.....I know, I know, I'm being a smart-ass! On-my-bike!<BR/>BTW. <BR/><BR/>Why DID Stockhausen suppress Opus 1970? Another work on a similar theme was Kagel's Ludwig Van.<BR/> <BR/>Cheers<BR/>David CavlovicPliablehttp://www.blogger.com/profile/10616598845886342325noreply@blogger.com