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amuricin music (one italian snuck in)
Dec. 18th, 2012 12:29 amyesterday, we went to a chamber orchestra of philadephia performance of american chamber works. we both enjoyed it; i was especially happy because dïe überblönde liked copland's quiet city, since she usually dislikes trumpet music.
so, yeah, two copland works, quiet city and the original setting of appalachian spring, which was originally scored for 13 instruments (flute, clarinet, bassoon, piano, and strings). i prefer the original setting because i think the sparer sound better fits what the music is trying to describe (a rural house-raising).
the performance started with barber's "serenade, opus 1", which i couldn't follow. nor could i make much sense of john williams' "essay for strings", except to say that it was very unsettled music: the complex harmonies were rich with dissonances, the tempo was fast enough to be nervous, and the work ended on a open cadence (the musical equivalent of coitus interruptus). er, yes, that john williams; he once had talent before he gave into the derivative side of music.¹
the two copland works were split by gershwin's "lullaby", which was indeed relaxing, and a surprise work: respighi's "aria per archi", which was (re)discovered few years ago and completed by another composer. the chamber orchestra of new york premiered the work, and they have some notes on it (scroll down), and a complete recording online (it's only six minutes long).
the philly chamber orchestra has a deal with naxos to record their concerts. unless they want a huge sum for this one, i'll probably get it.
1: to paraphrase some movie:
"is the derivative side more profitable?"
"no, no, no. quicker, easier, more seductive... if once you start down the dark path, forever will it dominate your destiny, consume you it will."
according to dirk brossé, the chamber orchestra's conductor, john williams actively suppresses his serious works; getting the sheet music for his "essay for strings" required personal cajoling.
but conversely, the program says that most people look down on composers who have given into the movie music side of the business because after that, their works all sound like "movie music". i'm rather curious what movie music is supposed to sound like, since i've got... 23 hours of the stuff, and i can't say that it's any more alike that other orchestral music. (i can't say herrmann's string suite for psycho sounds much like anything else in the canon.) it's all program music, to be sure, but saying that that's significant would also somehow devalue beethoven's pastoral symphony and mussorgsky's pictures at an exhibition, which are "serious" works. i suspect the usage is merely for snob appeal.
so, yeah, two copland works, quiet city and the original setting of appalachian spring, which was originally scored for 13 instruments (flute, clarinet, bassoon, piano, and strings). i prefer the original setting because i think the sparer sound better fits what the music is trying to describe (a rural house-raising).
the performance started with barber's "serenade, opus 1", which i couldn't follow. nor could i make much sense of john williams' "essay for strings", except to say that it was very unsettled music: the complex harmonies were rich with dissonances, the tempo was fast enough to be nervous, and the work ended on a open cadence (the musical equivalent of coitus interruptus). er, yes, that john williams; he once had talent before he gave into the derivative side of music.¹
the two copland works were split by gershwin's "lullaby", which was indeed relaxing, and a surprise work: respighi's "aria per archi", which was (re)discovered few years ago and completed by another composer. the chamber orchestra of new york premiered the work, and they have some notes on it (scroll down), and a complete recording online (it's only six minutes long).
the philly chamber orchestra has a deal with naxos to record their concerts. unless they want a huge sum for this one, i'll probably get it.
1: to paraphrase some movie:
"is the derivative side more profitable?"
"no, no, no. quicker, easier, more seductive... if once you start down the dark path, forever will it dominate your destiny, consume you it will."
according to dirk brossé, the chamber orchestra's conductor, john williams actively suppresses his serious works; getting the sheet music for his "essay for strings" required personal cajoling.
but conversely, the program says that most people look down on composers who have given into the movie music side of the business because after that, their works all sound like "movie music". i'm rather curious what movie music is supposed to sound like, since i've got... 23 hours of the stuff, and i can't say that it's any more alike that other orchestral music. (i can't say herrmann's string suite for psycho sounds much like anything else in the canon.) it's all program music, to be sure, but saying that that's significant would also somehow devalue beethoven's pastoral symphony and mussorgsky's pictures at an exhibition, which are "serious" works. i suspect the usage is merely for snob appeal.