Howdy! My name is Robert Moore. I'm a composer, writer, and perl hacker. I write mostly for strings and string orchestra, and you can download score and parts for most of my pieces from IMSLP. Published works are available from Alfred Music and Grand Mesa Strings (links below).
Please let me know if you have performed any of these works, as I would love to hear/see a performance recording if possible. Thanks!
#!/usr/bin/perl if (!equality) { warn, join(all,together), shift, share until $equality; } if (!$justice) { warn, push(@system,struggle), reverse || die; }
The violin concerto is played by Gidon Kremer with an orchestra conducted by Sir Colin Davis. Extracts from Lulu are sung by Kristine Ciesinki and Norman Bailey. I think the Lyric Suite is played by the Schoenberg Quartet but cannot confirm this, as even the usually reliable IMDB does not list this under Kriis Rusmanis who made it for the BBC. If I find out more I shall post it.
Why does our present Regime not produce - and allow to be broadcast - such ENGLISH 'culture-reinforcing' programmes as this? Another excellent programme made for Channel 4, was 'O, Thou Transcendent', on the life of Ralph Vaughan Williams. Our legacy terrestrial Channels now produce nothing but 'reality' dross.
The overwhelmingly beautiful and profound music aside, these two men were never rivals, but shared their love for music and ideas in their enduring friendship.
Nice to see Louis Krasner and George Perle in this, that excellent composer Gottfried von Einem. and also the late-lamented Anthony Pople. Some English subtitles would have been nice. Otherwise a fascinating doc. Thank you!
The Berg Three Pieces was one of Boulez' favorite works, one he began performing around 1960. He loved to take this densely complicated work and get orchestras to play it with his trademark order and precision.
Anyone who knows the entire program of the concert for which this rehearsal was made? ok, Berg op6 + Boulez Notations and what was the rest of the program?
This lovely piece not only reminded me that there's always room for cello, but also of the champion butt kicker in all the land who sadly lost a leg in a tragic gardening accident, but he foolishly continued to compete in the contest. This made him very sad, as if he was trapped andante's inferno. He spent his remaining years in a futile search of a cure that would make allegro.
It's hard to resist such an obvious straight line, however political correctness rules the day; although I will never quite see my telephone in the same light, methinks. Unlike in the past, current polls show that jokes in such poor taste are no longer acceptable, and multiple surveys show that the polls are indeed locked on this topic. So one must conclude that this is indeed no laughing matter, and that a poll lock joke would certainly be unacceptable. P.S. I am thinking that if one would attempt to make a joke about a homophone, a _"straight"_ line might not be relevant at all. And if all this makes you suspicious of my orientation, I can assure you I have never been to Eastern Asia; however I must admit I am a bit of a hobophobe. That's why I refuse to hang around the railroad yard eating beans from a tin can, or ride around from town to town in a dirty old boxcar. _(As to trying to crack wise regarding a canon, I decided it might be better to not to give it a shot, or make any reference to Admiral Hornblower in that regard. I am far too busy polishing up the handle on the big front door.....)_
The Boston Symphony Orchestra also did telecasts in this period, but because they were regular concert performances, the cameras were constricted in what they could do, whereas a taping without a paying public gave them more freedom - better for the viewer.
It is sad that whenever Berg and his music is considered nowadays, this is always what's presented as front-and-center to an understanding of his character and his work. Sadly, there is no longer any hope of encountering these wonderful compositions without all this baggage. There is no other composer of whom this may said to be true.
Her playing moves me so deeply, because the purity of her expressiv phrasing comes much more from the bow. Something that many of todays players have little idea about.
You are very welcome, and I'm glad YT allowed me to share it with you. A friend recently informed me that the Stradivarius she's using here was later stolen in 1995 and is still at large: www.fbi.gov/investigate/violent-crime/art-crime/fbi-top-ten-art-crimes/theft-of-the-davidoff-morini-stradivarius
1. This documentary presents a fascinating contrast between two friends: A. Gustav Holst peaked early in his short life with The Planets for which he is primarily known. B. Ralph Vaughan Williams slowly advanced in recognition throughout his long life with a seemingly endless parade of compositions in many different musical forms. 2. Although RVW dedicated his most performed symphony, No. 4 in F Minor, to Arnold Bax, its 1935 premiere took place one year after Holst's sudden death. Unlike the somber resignation of the Pastoral Symphony towards the WWI dead, the vehement rage of the 4th Symphony may have been fomented in RVW's grief and loss over his dear friend, perhaps resonating in the original primal loss of his father. 3. 57:15-25: 'Vaughan Williams wrote to Holst's wife and daughter, "My only thought, whichever way I turn, what are we to do without him?" Response: Enter Ursula Wood in 1938, whose muse-like presence ignited the domestic drama that propelled RVW's inspiration for his later period compositions. 4. At the end of his life, did RVW's thoughts turn to Holst via Thomas Hardy when composing his 9th and final symphony? A. Hardy's The Return of the Native inspired Holst's Egdon Heath, named for both the fictional place and actual heath where both had walked together when the composer visited the author. B. Scenes and characters from Hardy's Tess of the D'Urbervilles were explicitly referenced in the original sketches for RVW's 9th Symphony in E Minor, but were later withdrawn prior to publication.
I moved to Edinburgh several years ago having grown up in Bristol and attended college in Bath. This makes me so homesick for the West country! Love this programme. Thank you so much.
Wonderful to watch Pierre rehearse Berg w/ VPO. The "Three Pieces", op. 6 are Berg's big homage to Mahler, especially the MARCH. At 28:46, there's the Mahler 6th/ 3rd Movement violin passage (right before the E Major in Mahler), and a Mahler "mini-Hammer" at 30:15. Totally nuts.
Wie peinlich, was die Trompetengruppe da abliefert! Die Stellen sind überhaupt nicht vorbereitet und sie schaffen es nicht ab 21:26 auch nur ein einziges mal zusammen einzusetzen.
Ich habe früher Geige als Laienmusiker in Laienorchestern gespielt. Ich habe niemals an eine Musikkarriere gedacht, denn ich war tiefst überzeugt, nicht gut genug zu sein. Deshalb habe ich eine technische Karriere gemacht und nur noch aus Spaß gespielt. Nicht vorbereitete Stellen kamen häufig vor, bei vielen Musikern, aus irgendwelchen Gründen: Keine Zeit zu Üben, Klausuren am nächsten Tag, musste spät abends arbeiten, oder was auch immer... Als Nicht-Profimusiker hätte ich aber nie gedacht, dies würde auch unter Profimusikern aus Prestige-Orchestern vorkommen! Aber um fair zu sein: Ich schätze mal, man habe den Burschen in der letzten Minute aus Not geholt, weil die 3. Trompete krank sei, und er solle ihn ersetzen, und in einer Stunde sei die Probe avec le chef Pierre Boulez! Dies soll häufiger vorkommen, als man denkt! Herr Kapellmeister Christian Thielemann - er nennt sich selbst so, denn er mag den Namen "Dirigent" nicht sehr - erzählte in einem Vortrag, dass Musiker fürs Konzert oder gar für die Oper am gleichen Abend geholt werden, um Werke vom Blatt zu spielen, die sie nie zuvor geprobt haben! So nach dem Motto "Hol dir eine CD und frage einen Kollegen, wie die Stellen zu spielen sind!". Orchester haben sowieso immer weniger Zeit, zum Proben! Maestro Riccardo Muti hat sich mehrmals drüber beschwert...
Just a small correction to the english translation with regards to the names of the notes. Around 13:10 he doesn't say "fes", which would be f flat, but rather "fis" which is f sharp. Again around 14:09 he says "gis" which is g sharp and not g flat. G flat would be ges. And then around 20:28: he says "cis" and "fis" which again are c sharp and f sharp, respectively. C flat would be ces.
I do understand and sympathize with where you're coming from. My Dad shared a similar point of view one day years ago when he heard me listening to the opening of the Poulenc Organ Concerto (relatively tame stuff compared to the Berg and Boulez in this video). He listened quietly for a minute or two and then flatly stated "That's not music. Music is supposed to have a pleasing sound." I pointed out that this judgement is completely subjective, as I happened to believe that it was not only music, but really quite pleasing music at that. But I didn't have time to fully explain *why* I thought so - and I'm not entirely sure he would have been interested to know right then anyway with fortissimo extended tertian organ and string sonorities driving him from the room. In those days I confidently thought that I could easily understand why my Dad didn't engage with Poulenc's lovely French dissonance, and that it was because I possessed something he lacked: a working and ever-growing knowledge of the history and practice of Western music from a composer's perspective. Not having a framework within which to understand WHY such music "sounds the way it does", I reasoned that I could thus understand HOW my Dad could easily dismiss it as just some kinda junk non-music not worth suffering through long enough to experience its peculiar charms. That was the unwitting snobbery of the well-informed enthusiast on my part. "If you only knew more about it, you'd probably appreciate it more". I've thought about this for a long time. How wrong I was. The thing is, it wasn't that my father was just "ignorant". Over time I came to realize that he could have undergone the exact same musical training and experience as I had and STILL come out in favor of Freddy Fender over Ferrucio Busoni. With such training he would probably not have said that the Poulenc wasn't music, but it would have been equally useless to him AS music. Hell, I myself have been trying to understand the allure of Anton Bruckner for decades, but no matter how much I read or hear of it, his music always leaves me like a cold bored lump of potato. I may never understand it, but I am irritated that it still keeps its secrets from me. I now believe that, for any given piece of music - no matter what the style - there will always be some segment of the human population which, upon hearing it will instantly love and embrace it *without ever needing to be told how or why it came about*. It instantly speaks to them, and that's all they should need to know about it. However, as with so very many other things, the reciprocal is equally true - and valid. There's always going to be folks who will experience a visceral rejection of certain sounds they are exposed to from the very start, and not even be willing to consider it as something within the realm of music. Are they wrong to think so? Well, strictly speaking, if we take the Standard Modern Definition of Music as "Organized Sound", yes: They are in fact wrong about that. But music in this particular context - and how we use music to help us live our lives - always ends up much like Joseph Campbell's fine definition of God: "A metaphor for an experience of transcendence". So, one way or another, it seems like you either see The Light, or you don't. Or, maybe, like me with Bruckner, if you study hard enough for long enough you can eventually dimly make it out like a low magnitude star - if you know *exactly* where to look. I figure so long as you don't pity or hold enmity with those who cannot or will not join in the rituals of your Musical Holy Places, this can be a teaching moment for other intersections of our lives where we can't understand how others can possibly be nourished by food we cannot even see. I really wished that the Poulenc Organ Concerto was something which my Dad and I could have shared, enjoyed and discussed together, but some mysteries are outside the present reach of our ability to understand, and may always be so. If, in the end, music is nothing more than "Organized Sound", its enduring power is nevertheless a very deep mystery.
