On Mon 26 Mar 2018 at 15:21:57 (+0200), Urs Liska wrote: > > > Am 26.03.2018 um 14:52 schrieb Karlin High: > >On 3/25/2018 6:43 AM, Kieren MacMillan wrote: > >>Apparently you haven’t been to any new classical music concerts > >>in the last half-century. It’s*quite* clear that many composers > >>— especially inexperienced ones — have no problem composing > >>dissonant pieces without access to the the actual timbre and > >>overtone composition of the music they’re writing. > > > >" > >There was a time when the first performance of a recent commission > >struck fear into the most broad-minded listener. We used to brace > >ourselves for horror and were rarely disappointed. In those days, > >the struggle to write more atonally than the next man was > >palpable. No self-respecting composer would pen a concord if he > >wanted to be taken seriously by his peers: to do so was to be > >compared to those who made soft-harmony arrangements of famous > >melodies. Now soft harmony has become dignified, with all manner > >of clever names — tintinnabuli, holy minimalism; while popular > >tunes are quickly identified as being ‘chant’, and quoted whole. > >" > >- Peter Phillips > ><https://www.spectator.co.uk/2014/12/why-church-music-is-back-in-vogue-and-squeaky-gate-music-has-had-its-day/> > > > > > > "Die einen, [seine] ganz besonderen Freunde, behaupten, gerade dieses > Werk sei ein Meisterstück, das sei eben der wahre Stil für die höhere > Musik, und wenn sie jetzt nicht gefällt, so komme das nur daher, weil > das Publikum nicht kunstgebildet genug sei, alle diese hohen Schönheiten > zu fassen; nach ein paar tausend Jahren aber würde sie ihre Wirkung > nicht verfehlen ... [Die Gruppe der wohlwollenden Zuhörer] fürchtet > aber, wenn [er] auf diesem Wege fortwandert, so werde er und das > Publikum übel dabei fahren. Die Musik könne sobald dahin kommen, daß > jeder, der nicht genau mit den Regeln und Schwierigkeiten der Kunst > vertraut ist, schlechterdings gar keinen Genuß bei ihr finde, sondern > durch eine Menge unzusammenhängender und überhäufter Ideen und einen > fortwährenden Tumult aller Instrumente zu Boden gedrückt, nur mit einem > unangenehmen Gefühl der Ermattung den Konzertsaal verlasse." > > This is one of my favourite reviews of a first performance. My shot > at a translation: > > "One group, the composer's very special friends, proclaim > particularly this composition to be a master work, bearing the > genuine style for higher music, and if people don't like it now, > it's just because the audience isn't studied well enough to grasp > all this high beauty; a few thousand years later it would definitely > not miss its effect anymore [...] Others [the group of benevolent > listeners] fear that, if he'd continue on that track, it might end > badly for the composer and the audience. The music could soon reach > a point where anybody who isn't intimately familiar with the rules > and intricacies of the art just won't get *any* joy from it. Instead > they would leave the hall only with an unpleasant feeling of > fatigue, depressed by the amount of disjoint and cluttered ideas and > a continuous turmoil of all instruments." > > Unfortunately I don't have the book at hand where I originally > copied this from, so I can't look up the middle section (what the > third group, the vocal opponents, have to say). But I think even > with this you get the gist. > > Bets are open what this is about ;-)
That's what google is for, attached. Cheers, David.
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