H&N February 12th

[Bryn]

The final Huddersfield 2010 highlights programme had a fair range of what the festival had to offer, but what on Earth was Sara Mohr-Pietsch on about when the transition was made from Cage to Barrett? She really did get their relation to improvisation quite the wrong way round. Contrary to what she claimed, Cage was pretty much dead set against improvisation while Barrett includes improvisatory sections in many (most) of his compositions and is himself an improving musician of international renown. A little more homework please Ms. Mohr-Pietsch. Let's hope Mr. Barrett was not to wounded by her gaff.

[Panjandrum]

What amazes me is that the presentation was presumably done at the time. What excuse is there for no-one on the production team picking this one up and putting it right? Are they all pig ignorant when it comes to contemporary music? :doh:

[Sydney Grew]

. . . Let's hope Mr. Barrett was not to [sic] wounded by her gaff whistle.

"Programme:

Rebecca SAUNDERS: Murmers (UK Premiere)

Richard BARRETT: Wound I & III (World Premiere)

Richard BARRETT: Wound II

Brian FERNEYHOUGH: Quartet No.6 (World Premiere)"

Thus the Corporation. The first four works have frightfully discouraging names. In the case of the Saunders we are left wondering whether the ignorant misspelling is the composer's or the B.B.C.'s. And to name - not one but three - pieces "Wound" simply leads one to reflect upon whether the intention of the man might have been to inflict them upon the unfortunate auditor. All sensible persons must take to their heels upon seeing such titles!

The mystification continues with "Quartet No.6" - for surely that cannot be the name given the work by its composer. He would have written "String Quartet" (using the truncated modern orthography), or "Oboe Quartet" or "Tuba Quartet," even, would he not. (But actually it may be of assistance to Members to inform them that the phrase "String Quartet" does appear elsewhere, embedded in an obscure passage of the descriptive text.)

We regret to say then that the whole programme in the form published by Radio Three reeks of failure! When will these modernists learn that their meaningless, horrid, or frivolous titles are driving potential listeners away in droves!

[Bryn]

One notes with disdain the misplacing of the opening suare bracket of "[sic]". It belongs immediately after the mistyped "to", with no space interposed.

[3rd Viennese School]

What’s meaningless about the title Quartet no.6? Which I take as Ferneyhough’s 6th String Quartet.

Wasn’t sure if Richard’s work was pronounced “Woond” or “ Wownd” on reading the Radio 3 schedules. As in winding the tape back.

Rebbeca Saunders- Murmers- atmospheric title!?

Anyway, I heard the show in the pub but would really need to hear it again or record it to get to grips with it.

So Sydney. Any suggestions for re-titles?

3VS

[MrGongGong]

When will these modernists learn that their meaningless, horrid, or frivolous titles are driving potential listeners away in droves!

Suggestions for meaningless, horrid and/or frivolous titles please (i find deciding what to call pieces hard sometimes and I have a few in the pipeline !)

Surprise Symphony ?
Jeux ?
Enigma ?

[Bryn]

Well string quartet is daft enough. Are not 16 employed?

[aka Calum Da Jazbo]

Well string quartet is daft enough. Are not 16 employed?

...at least ...some go ping whether in the score or not ...is this improvisation?

[MrGongGong]

maybe not improvisation
but
indeterminancy definitely

[Sydney Grew]

. . . So Sydney. Any suggestions for re-titles?

How about this then:

"Programme:

Rebecca SAUNDERS: Ignorence [sic] (UK Premiere)

Richard BARRETT: Horridness and Horridness Again (World Derniere)

Richard BARRETT: Horridness All Over

Brian FERNEYHOUGH: Sixth String Quartette (revised and corrected after the examples of Mozart and Scryabine so as to incorporate many new passages of intensity charm lyricism and profundity in the elevated poetico-mystical style which will define the taste of the coming century)"