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Thread: Alma Deutscher

  1. #76
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    Quote Originally Posted by ArtMusic View Post
    contemporary.
    You think this? Really? Just because it is written NOW that doesn't make it "contemporary."

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    Quote Originally Posted by dogen View Post
    You think this? Really? Just because it is written NOW that doesn't make it "contemporary."
    As far as I am concerned, yes, AD's music is contemporary composed music that audiences are accepting. The composer will compose regardless of what you or I might think, and audiences welcome her regardless, in the real world.
    "You must have no dependence on your own genius. If you have great talents, industry will improve them; if you have but moderate abilities, industry will supply their deficiency." Sir Joshua Reynolds, PRA, FRS, FRSA (1723 - 1792)

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    Quote Originally Posted by ArtMusic View Post
    As far as I am concerned, yes, AD's music is contemporary composed music that audiences are accepting. The composer will compose regardless of what you or I might think, and audiences welcome her regardless, in the real world.
    In the easiest prediction I have ever had to make, I can tell you for certain that the later works of Boulez are bound to be performed and listened to more often in the future than are the works Alma Deutscher has composed thus far or is composing now (no predictions about whatever she will compose in the future).

    Making that prediction was no challenge. The real challenge is figuring out how anyone could possibly believe that the opposite is more likely.

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    Quote Originally Posted by Mahlerian View Post
    In the easiest prediction I have ever had to make, I can tell you for certain that the later works of Boulez are bound to be performed and listened to more often in the future than are the works Alma Deutscher has composed thus far or is composing now (no predictions about whatever she will compose in the future).

    Making that prediction was no challenge. The real challenge is figuring out how anyone could possibly believe that the opposite is more likely.
    How is your post a response to anything ArtMusic said?

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    Quote Originally Posted by Dim7 View Post
    How is your post a response to anything ArtMusic said?
    The idea that audiences are welcoming/accepting this music implies in ArtMusic's mind that it will live on. He has said so on multiple occasions.

    Also, despite the existence of sold-out all-Boulez concerts, he continues to insist that audiences don't accept his music.

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    ^That's an important point. The modern music Art doesn't like is actually much, much more popular in the real world than Alma Deutscher's (pure and simple).

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    Quote Originally Posted by Mahlerian View Post
    The idea that audiences are welcoming/accepting this music implies in ArtMusic's mind that it will live on. He has said so on multiple occasions.
    It implies that they are accepting it now. I agree that it is unlikely that music composed by Alma Deutcher as a child will live on - even Mozart's childhood works didn't really 'live on' or at least I very rarely hear anyone talk about them.

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    Quote Originally Posted by Dim7 View Post
    It implies that they are accepting it now. I agree that it is unlikely that music composed by Alma Deutcher as a child will live on - even Mozart's childhood works didn't really 'live on' or at least I very rarely hear anyone talk about them.
    Yes, but in his mind the conflation between audience acceptance and eternal acceptance into the canon is not a problem.

    http://www.talkclassical.com/37898-c...tml#post871152

    http://www.talkclassical.com/37942-h...tml#post873874

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    Quote Originally Posted by Dim7 View Post
    It implies that they are accepting it now. I agree that it is unlikely that music composed by Alma Deutcher as a child will live on - even Mozart's childhood works didn't really 'live on' or at least I very rarely hear anyone talk about them.
    The singular post, out of context, implies just that, yes. Is this your first time reading ArtMusic?

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    Quote Originally Posted by ArtMusic View Post
    As far as I am concerned, yes, AD's music is contemporary composed music that audiences are accepting. The composer will compose regardless of what you or I might think, and audiences welcome her regardless, in the real world.
    In what ways are her compositions "contemporary"? As in "of the 21st century."

    And why the patronising reference yet again to "real world." Until a psychiatrist says otherwise let's work on the basis there is only one world, it's real and I'm living in it.

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    Quote Originally Posted by Mahlerian View Post
    The idea that audiences are welcoming/accepting this music implies in ArtMusic's mind that it will live on. He has said so on multiple occasions.

    Also, despite the existence of sold-out all-Boulez concerts, he continues to insist that audiences don't accept his music.
    No worries... we are all glad that Boulez gets scholarly box sets while Deutscher will remain a mere novelty with 95% chance in the future. Her legacy unless she makes a dramatic turn will end up as a film composer most likely.
    "if a horse could sing in a monotone, the horse would sound like Carly Simon, only a horse wouldn't rhyme 'yacht', 'apricot', and 'gavotte'. Is that some kind of joke?"
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    "there's a fine line between having an open mind and having your whole brain fall out"
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    Latest development, in a few days from now

    Israel Philharmonic Orchestra
    On 1.6.2015 Alma will appear as a soloist with the Israel Philharmonic Orchestra (in Tel Aviv, Israel). The orchestra will also play her symphonic piece: Dance of the Solent Mermaids.

    I look forward to listening to this very new piece of music.
    "You must have no dependence on your own genius. If you have great talents, industry will improve them; if you have but moderate abilities, industry will supply their deficiency." Sir Joshua Reynolds, PRA, FRS, FRSA (1723 - 1792)

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    Quote Originally Posted by ArtMusic View Post
    Latest development, in a few days from now

    Israel Philharmonic Orchestra
    On 1.6.2015 Alma will appear as a soloist with the Israel Philharmonic Orchestra (in Tel Aviv, Israel). The orchestra will also play her symphonic piece: Dance of the Solent Mermaids.

    I look forward to listening to this very new piece of music.
    I'm offended. You chose to tell us about this performance even though you fully understand there's an incredible amount of REAL contemporary composers you could have promoted instead. You are practically saying that they just compose non-music noise. Shame on you.

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    Quote Originally Posted by ArtMusic View Post
    Latest development, in a few days from now

    Israel Philharmonic Orchestra
    On 1.6.2015 Alma will appear as a soloist with the Israel Philharmonic Orchestra (in Tel Aviv, Israel). The orchestra will also play her symphonic piece: Dance of the Solent Mermaids.

    I look forward to listening to this very new piece of music.
    Oh, I've got to hear it! Thanks for mentioning it.

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    Quote Originally Posted by ArtMusic View Post
    Latest development, in a few days from now

    Israel Philharmonic Orchestra
    On 1.6.2015 Alma will appear as a soloist with the Israel Philharmonic Orchestra (in Tel Aviv, Israel). The orchestra will also play her symphonic piece: Dance of the Solent Mermaids.
    I'm not surprised that minor ensembles would choose to perform her works. She's very talented for her age, and many people enjoy displays of such talent. I'm not sure I understand why a major orchestra would choose to perform her works. Obviously I have not heard this recent piece, but I'd be a bit surprised if it were significantly different from the works I did sample.

    Do others know of major ensembles choosing to perform works of very young composers? Is it likely that this choice is based on the combination of the following factors: a conservative audience prefers hearing conservative music and precocious youngsters "wow" people with their talents? I'm not sure what percentage of patrons or audience members of the Israel Philharmonic Orchestra (or other orchestras) would occasionally prefer to hear immature works by very young composers over more mature works contemporary or earlier.

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