Sally Beamish

[ferneyhoughgeliebte]

Far more interesting in terms of moving music as a whole forward, I think, is when jazz musicians adapt (rather then adopt) aspects of modern compositional techniques, particularly formal devices (eg polytonality, serialism, stochastics), on jazz's own terms; it seems to me that then comes the chance for modern composers within the classical field to look to jazz as a creative source for new ideas.

The joint respect and mutual fuelling of ideas of Evan Parker and Richard Barrett, for example.

[Norfolk Born]

?

They do on my computer (as do the links in your quotation!): have another go, S_A: Braxton and Coltrane are always worth hearing in my experience!

...and on mine!

[Serial_Apologist]

...and on mine!

Apols to Ferneyhoughgeliebte - my computer must have been feeling the way I did when I woke up this morning!

[Byas'd Opinion]

If you're in the Glasgow or Edinburgh area on the weekend of the 16th and 17th of March, the Scottish Chamber Orchestra are giving the first UK performances of Beamish's recent percussion concerto, "Dance Variations", with Colin Currie as soloist.

Joseph Swensen is the conductor, and the other works on the programme are Stravinsky's "Dumbarton Oaks" and Beethoven 7.

Beamish and Currie will be giving a pre-concert talk at 6.30 on both nights (Glasgow Fri 16th, Edinburgh Sat 17th). http://www.sco.org.uk/concerts

[Oddball]

:

My own observation on her *stated* interest in jazz came early on in the week, before we were really offered examples by which to gauge it. Much of course was omitted from her journey as described, but, assuming I am right in the chronology, I was intrigued by the fact that Ms Beamish had turned to a top American jazz musician, like Mark Anthony Turnage did for "Blood on the Floor", and thus an "American" model of jazz, as opposed to the Scottish jazz scene, for all her describing being involved in the local folk music scene, tacitly rooted in the landascape and community spirit, her main compositional inspirations.

Far more interesting in terms of moving music as a whole forward, I think, is when it is jazz musicians adapting (rather then adopting, if you get me) aspects of modern compositional techniques, particularly formal devices (eg polytonality, serialism, stochastics), on jazz's own terms; it seems to me that then comes the chance for modern composers within the classical field to look to jazz as a creative source for new ideas.

Yes agreed 100% S-A, and very well expressed.

On listening again to COTW episodes, firstly have to state that the compositions and performances are excellent, as everyone agrees.

However as regards Jazz influences, and taking Friday's episode as an example, I guess there were a few Jazz-type phrases in Bridging The Day, and I fancied I heard Mahalia Jackson in some of the Cello's lines. But I felt the Cello sonata was more Jazzy in overall impression, although not as Jazzy as perhaps the Kreutzer Sonata.

So I guess there are various reasons for being at variance with Ms. Beamish: 1) I'm just not musical enough to hear the Jazz influence, 2) Sally is emphasisng the Jazz in her compositions in order to promote the music to a wider audience, 3) most composers working in and after the second half of the 20th Century will have Jazz in their veins, having been exposed to it in their musical environment (Cf. minimalists -some of whom even have Amereican Show Tunes influence in their compositions).

I therefore prefer Sally's initial view that the Jazz was there without recognising it. Not sure how far she now intends to go along the Jazz route - but I can't see her making the grade along with the likes of Guenther Schueller. Hopes she sticks to what she has been and is doing.

By the way as regards Birdland/ Weather Report, I think the english language translation by Manhattan Transfer puts the issue of whether it is Jazz beyond doubt: http://www.youtube.com/watch?v=6QOQr0gzS48