Am 26.03.2018 um 15:32 schrieb Guy
Stalnaker:
This could have been written about Glass,
Schoenberg, Stravinsky, Strauss, Puccini, Mahler, Bruckner,
Tchaikovsky, Berlioz, Liszt, or Beethoven.
😀
That's the point of quoting it here ;-)
I've cited it in programme notes for a series of concerts with
Schoenberg's songs, too.
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 ;-)
Urs
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