Andre Offline

I can sort of understand what Ashkenazy is getting at. I'm not really a huge fan of so-called programmatic music - it's usually spiced up and overly "romanticized". Something like Hans van Bulow's "programs" of Chopin's Preludes is what I have in mind - an abomination!

I find that good music can often express something that words cannot. In other words, it's beyond that. Perhaps it is the ultimate depiction of that certain idea - something that cannot be taken to a worldly/humanly level. Programmatic music can be helpful - but IMHO the "program" in mind should not be taken in too basic a manner. I've always seen it as more of a guide to help humans understand what the music is about by taking it to a level that they themselves are more familiar with.

Andre, could you direct me to some good Elliott Carter recordings?

I suppose you're right when you say that music takes time and effort to perceive. What always works with me is a week of repeated listening to a single composer that I'm having trouble with. I look at classical music as an investment: you invest your energy into it, and you will be rewarded all in due time. I'm not sure I can say this about much of the music that people listen to today. Which really frustrates me, especially when someone says "I don't like it" or "I don't get it" two measures into the piece. I always think: 'Dude, if you're going to judge a piece so fast, at least listen to the whole thing!'

Yikes.

I've recently read a comment on GMG that intrigued me immensely. It argued that "music being composed right now, though unaccepted by the public, is actually most relevant to us, right now, at this very moment."

This got me thinking: Bach wrote for his time period, Mozart for his, and Beethoven for his. Why don't we accept what we have, and why do we consider this "new music" unaccessible? Shouldn't it be the most relevant to our lives today?

So I decided to begin my third venture on the avant-garde, and I have to admit, it's been an incredible experience as I'm beginning to view music in a completely different perspective as before. Kudos to you for your encouragement and help.

What would you say your top 10 post-WWII symphonies would be? I haven't explored this genre very much at all.

I did meet Sculthorpe in my home town - Toronto. He was having some music performed, and was giving a presentation at the University of Toronto. I was very taken by his music and demeanor.

I must admit quite a bit of ignorance to Australian composers, though. My good friend Aleksander Tsiboulski I think lives in Perth now - classical guitarist, but he is from Sydney. And of course, one meets many Aussies as you folk are the great travelers! Quite a few end up here where I live now, in Vancouver.

andre - sorry, slow response time.

go for Ginastera 1st piano concerto - really great. but he also has piles of solo piano music, and all worth a listen. I think he is a great composer!

I quite like Sculthorpe's music, and have had the pleasure to meet him - super sweet guy, gentle.

funny picture, btw! did you take it? how in the world did you get that outfit on that cat! and, how many stitches?

Hi Andre, how are you? I'm just writing to say that I'd really like your opinion on some of my own compositional efforts. You'll find a sample of my music on my new thread in the sub-forum "Today's composers". I'm waiting for your thoughts.

Thanks for the reply Andre
I just like the way that throughout his passages in Carmen he keeps the lively Spanish gypsy feel. which is refreshingly beautiful even though a tragic end. So sad he died so soon after its premiere. Another five years and he would have seen the appreciation in Europe it really deserved
The overture can clear cobwebbs off the stage for any orchestra at any level.

Hey, I just pass on what others have passed on to me.