Echoes On An Overgrown Path
A reader has noted that BBC Radio 3 has been making some last minute additions to the published schedules for their Breakfast programme. Today a track by the German early music group Sarband was added at the end of the programme, and yesterday, at the same time, a recording of Buddhist chanting was added.
By complete coincidence, two days ago I uploaded an article about Sarband, and said I would be featuring them on this Sunday's Overgrown Path radio programme, while last week I wrote about the Buddhist inspired compositions of Alain Kremski.
My server logs have record several visits from the BBC IP address to my article about the Afro-French composer Le Chevalier de Sainte-George. Watch this space.
Picture is of an anechoic chamber, where, of course, there are no echoes. Credit National Metrology Institute of Japan. 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
I don't have server logs to monitor, but I do sometimes notice that whenever I spend a few days chiding public radio WETA-FM, in Washington, D.C., for completely ignoring American classical music (while serving large dollops of The King of Prussia, Galuppi, Kalinnikov, and Glazanov -- along with the usual fixes of Vivaldi, Tchaikovsky, and Rachmaninoff -- that a movement from the Arthur Foote Piano Quartet or a short piano work by Louis Moreau Gottschalk will appear for a day or two before the public station resumes its normalized, anti-American classical music programming. Today, I see Gottschalk's Grand Triumphal Fantasy on Brazilian Nat'l Hymn.
Prior to being merged with the commercial-driven WGMS, earlier this year, WETA-FM featured carefully curated programs of early music regularly showcasing performances of sacred chant and such imaginative (and culturally relevant) performing groups as Sarband.
In 1954 Boulez founded a concert series in Paris, eventually known as the Domaine Musical, to present new works in a context of twentieth-century classics and of old music that displayed concern with questions of construction (Bach, Gabrieli). Later in the 1950s he began conducting the German radio orchestras in similar repertory.