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Kyle has left a new comment on your post "New music from the old world":
I see that Belgian serialist Henri Pousseur is not mentioned. Or, perhaps, he has already been forgotten.
Not forgotten Kyle. Just wating for someone to fill in the details. Henri Pousseur was born in Malmédy in French speaking Wallonia in 1929. In the 1950s he was active in the international avant-garde music scene (dodecaphonic, serial, electronic, aleatoric music), together with Boulez, Stockhausen, Berio, and others, and like Boulez he was heavily influenced by Webern. The image above is a page from Pousseur's score for Electre (credit Universal Editions, Vienna).
After 1960 Pousseur rejected the narrow viewpoint of the avant-garde, and, in collabaration with the French writer Michel Butor, he adopted an inclusive approach which embraced a range of styles and viewpoints. Their 1962 opera Votre Faust forged a connection between contemporary music and history by casting the audience as performers. The influential Centre de recherches et de formation musicales de Wallonie (CRFMW) in Liège was founded by Pousseur in the 1970s. He also established the Institut de Pédagogie musicale de Paris in the 1980s, which is now integrated into Paris' Cité de la Musique.
Among Henri Pousseur's prolific output are the electro-acoustic music sequences for the 1961 production of Offenbach's Les Contes d'Hoffmann at the Théâtre Royal de la Monnaie in Brussels. The choreography for this opera was created by the great Maurice Béjart, who died yesterday (Nov 22, 2007) aged 80.
The English website of Henri Pousseur's publisher is here, his own French website is here. And read about yet another serialist from the old world here.
Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk
'It was November, extremely cold with an east wind. I crossed the Channel and called on Stravinsky. He was living in the Fauborg St Honore, in a very elegant apartment. He was spruce and gnome-like, immaculately dressed, and looking more like a business executive than a composer. But this impression changed as we sat talking: he was precisely like a cricket wearing spats. Just as a cricket will stay immobile, then suddenly bound into the air with a spring of compressed energy, so I had the feeling that Stravinsky might bound through the ceiling at any moment. He looked alert, nervous though not neurotic, as though he had just emerged from one of those baths where you are rubbed with ice and beaten with birch-sticks.
... Suddenly...the cricket sprang, 'I want to show you something,' he said, and led me into his study. It was a small room, clinically tidy with an upright piano. Stravinsky went straight across the room to a shelf beside his piano and took down a portrait bust which he gave me to hold. I held the bust, which I did not recognise, and Stravinsky stood beside me as though he were observing a two minute's silence. 'Webern is the greatest composer of this century,' he said finally. He took the portrait from me and put it back on the shelf.
From that moment our relationship was less formal. He told me he always composed at the piano: he had to hear the note to be absolutely certain it was precisely the sound he wanted. Dozens of kinds of pencils, paper-clips, contraptions for punching papers and threading them together littered a side-table. The room was full of gadgets or desk-toys which he believed made him more efficient.
Stravinsky was pathetically pleased that I had called on him. He feared my generation 'had got lost in Sibelius and had never heard of his music'. I told him how much I admired the Symphony of Psalms and his Octet for Wind Instruments - especially. I said, the very last part of it. He picked up a score and went to the piano. 'You mean from here?' he asked. 'Precisely.' 'Yes,' he said., 'I joined that bit on. I wrote it originally as an epitaph for Debussy.'
I tried to interest him in Britten, but he was too self-absorbed to be aware of anybody else's work. He was interested only in Webern, somebody he could use. I mean nothing derogatory in that.'
Ronald Duncan describes a 1936 meeting with Stravinsky in his book Working With Britten (The Rebel Press ISBN 0900615303). Duncan was the librettist for The Rape of Lucretia and also worked on Peter Grimes.
Igor Stravinsky was born in Oranienbaum (now Lomonosov), Russia at noon, June 5th 1882 in the old Russian calendar. This birthdate is usually translated as June 17th in the new calendar, but sometimes as June 18th, and even June 19th by Naxos. Whichever day, happy birthday Igor!
Now read about Stravinsky's Tibetan connection. View Stravinsky videos on YouTube via this link, and here is a 3 minute copyright cleared sample from his 1944 Mass - 
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The photo shows Stravinsky in his Paris studio in 1929. The audio sample is via Boosey & Hawkes and is performed by the Gregg Smith Singers and Columbia Symphony Winds & Brass from Sony SM2K 46301. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk
Much media hype about Apple's iPhone. Less media hype about another handheld electronic device launched at last week's Las Vegas Consumer Electronics Show. The Taser C2 is a 'personal protection device' using the electro-shock technology from Taser's law enforcement product range. The Taser website says: 'Unlike conventional weapons the Taser C2 discharge can work anywhere on the body, making it easier to stop a threat under stress than other self-defense options.' Taser 'citizen defense' systems can be bought online from the company's website, of from Actionguns.com. The Taser C2 will be available to the public in April 2007 for $299, and comes in a choice of four colours.
Taser devices are used by more than 10,000 police agencies in 40 countries. The Amnesty International website says that 'since 2001, more than 70 people are reported to have died in the USA and Canada after being struck by M26 or X26 Tasers, with the numbers rising each year', and goes on to say 'the use of stun technology in law enforcement raises a number of concerns for the protection of human rights. Portable and easy to use, with the capacity to inflict severe pain at the push of a button without leaving substantial marks, electro-shock weapons are particularly open to abuse by unscrupulous officials, as the organization has documented in numerous cases around the world.' Now follow this link to experience the zeitgeist of the YouTube generation, and this one to find out about the Pentagon's manna from heaven.
Now playing - Anton Webern's orchestration of the Ricercata from Bach's Musical Offering played by the Münchener Kammerorchester conducted by Christoph Poppen (ECM 1774). As a leading member of the Second Viennese School Anton Webern (right) helped develop the twelve-tone system. He was accidentally shot dead in September 1945 by an American Army soldier in the Austrian village of Mittersill. The shooting happened five months after hostilies ended in Europe.
Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk
