Shortly after it was released I bought the young Finn Klaus Mäkelä's new complete cycle of Sibelius symphonies recorded for Decca. Sibelius symphonies are very well represented in my large CD collection , in fact I have more Sibelius symphony cycles than for any other composer. Yet I have returned to Mäkelä's interpretations a surprising number of times. No, they will not replace the accounts of Sanderling , Colin Davis, Barbirolli , and others. But they are not worse or better: because subjective dualist judgements of better or worse, like or dislike, good and bad, definitive or otherwise, etc etc no longer mean anything to me . There is no concrete reality in a music performance, only what we individually perceive as reality. A performance is an endless flow of constantly changing conditions. The score is not the performance, and the performance is not the score. Between score and performance lie an infinite number of overlapping variables - tempi, dynamics, performanc
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D.M. was one of the early professors at Mills college.
Have a look at the current M.C. site.
http://www.mills.edu/academics/faculty/mus/rmitchell/rmitchell.php
Who’s in charge of the D.M. chair? Roscoe Mitchell.
The most serious man from the jazz ensemble Art Ensemble of Chicago.
BT
Thanks for the Dave Brubeck post. Thought I'd forward you an excellent link/podcast re: Brubeck's earlier, more experimental trio and octet recordings that I learned of through Marc Meyer's fine "Jazz Wax" blog.
http://indianapublicmedia.org/nightlights/playland-beach-dave-brubecks-early-octet-trio/
http://www.jazzwax.com
TEMcC