Roehre, you need to make room in your PM inbox. It is full.
Great report, hackneyvi!
I've made a note to catch the programme on iPlayer as a result
Thankyou. I've never written a word about 'serious' music in my life before and I hope you won't be disappointed.
Originally Posted by amateur51
I've attended several concerts of modern/contemporary music lately; Louis Andriessen, Xenakis, Steve Reich, James Clarke and Eotvos. I've expected the music to be excessively challenging but - with the exception of the Andriessen which I found rather arid - the others have all been rewarding to some degree.
I was several times reminded of Michael Tippett's music from the 70s in that Eotvos is often rich and rhythmic. I think the right word is 'textures' (?) to describe the effects produced by the instrumentation. They do seem less pronounced on the radio than they were in the hall, but they're still there and clear. The second piece, Psychokosmos, is a concerto for a cymbalom which has some rowdy tuttis, but the softer passages - especially from around 32' on H&N are sometimes lovely.
I do hope you find something to like. The solo writing - the third piece is for 2 clarinets and orchestra - didn't always seem as purposeful or attractive as the softer orchestral music but there's a lot of lovely and joyful music here, I think. The players were full of smiles and applause for Mr Eotvos at the end.
Last edited by hackneyvi; 17-05-11 at 13:58.
According to Miss Rounds the authoress of An Essential Grammar the vowel represented by "ö" may be produced by pursing one's lips as though to say "oh!" but saying "eh!" instead. Example: "köszönöm" meaning "thank you."
The vowel represented by "ő" - the double acute you know - and not an orthographical item to which we in Western Europe are commonly exposed - is simply a longer version of the above. Examples: "héftő" meaning "Monday," and "Ernő Dohnányi" (of whom more presently).
Let it also be noted that as Siptár and Törkenczy in their invaluable Phonology of Hungarian point out "a Hungarian word typically has a single primary stress, which falls upon its initial syllable, no matter whether the word is simple, or derived, or a compound."
Oh - it should in addition be remembered that a) Hungarian possesses no diphthongs, and b) the vowel "e" has a sound between our "a" in "bat" and our "e" in "bet." Example: "reggel" (morning).
The composer's surname is thus trisyllabic.
Last edited by Sydney Grew; 18-05-11 at 11:41.
Originally Posted by Sydney Grew
Have you listened to any of the music, Mr Grew?
OF course he hasn't
unless , of course, uses the famous "Bois de noix" Stockhausen listening technique ! (télékinésie)
Well I have just now been watching a recording I made from the tele-vision of his opera the "Three Sisters," which features a number of adult male sopranos dressed up in Oriental clothing and making horrid noises. Did any Members see it? My conclusion is that works like that are written by "deeply insecure" personalities, determined by hook or by crook to make an impression. Its creator is not a man who is sure of himself; he holds - or attempts to hold - his audience merely by way of one uncomfortable outlandishness after another.
Between 1968 and 1976 he was a member of jolly old Stockhausen's "ensemble" - which is no recommendation at all is it! - and there is a good deal of "jazz" (I can hardly bring myself to write the word!) in his background, invariably a bad sign.
This sort of thing was not written for cultured, self-confident, superior people.
Last edited by Sydney Grew; 18-05-11 at 13:00.