What are you listening to now?

[Quijote]

Talking of "fags" above, I understand the word has quite different meanings in British and American English (though cynics say American English is in fact Microsoft English, which in itself is quite an appalling thought).

So when I "popped out during a concert for a beer and a fag" as reported above, I would like to specify that it was in the British sense.

There is a French and Québec French equivalent : In metropolitan French, saying "Ca va, les gosses?" means "How are the kids?". In Québec French, saying the same phrase means "How are your testicles?".

"Gosses" in French literally means "garlic cloves". I leave you to work out the connection.

I know this posting should be on this forum's Comedy Corner, but if I put it there the "thread", so to speak, would have been broken.

[Quijote]

Philip, have you ever heard of contemporary composer David Stock? I heard a percussion concerto of his before the orchestra played Beethoven's 9th this year. There was a lecture he gave before the concert, where, he was pretty much insisting that his music and music alike was the new Beethoven, Mozart, etc.

I do not think that it is. This is what I do not understand, if someone claims they can write as good as the masters of music then why not write as the masters of music did? The music of his performed was a percussion concerto, using primarily non-pitched instruments? It had no intimacy, real feeling, etc.- the violins would play gracefully for a moment and then BAM the timpani and rock drums would start being slammed completely off beat. Then the girl who was the percussion soloist (who was quite talented) would walk over to the marimba and play it then back to the timpani and rock drums, etc.? Yes, I know there is much more to it than that general description, but, why not write as the masters?

I am not saying I am against contemporary music, I do not know enough about it or classical theory. I was really wondering if you had heard of David Stock and if you thought his music was the new Beethoven?

Hello Preston. No, I haven't heard of David Stock, but that is neither here or there. To be frank, I think it is meaningless to describe any composer (be that Brahms, Bruckner, Mahler, Boulez, Cage or Stockhausen et al) as the "new Beethoven". I do not consider, for example, that Beethoven was the "new Haydn", the "new Bach" or "new anyone else", either.

Whatever the claims of such musicians, I don't see why any composer today (or yesteryear) should try to write in the style of a former "master"; that is simply called pastiche. To draw a literary analogy, Dickens writes like Dickens; I would never be interested in a writer today writing in the style of Dickens. Is that what you are saying composers like Stock should do?

As to the piece you have in mind (Stock's), I would of course expect some sort of "BAM" given it was principally for percussion instruments (pitched or otherwise). As to off-beat, well, Beethoven was a master at writing such patterns to throw us all off our guard. The examples are legion.

[Sorrano]

Phillip, I take it you do not much care for Francesconi? Unfortunately, for myself, I do not have the exposure to current composers and music trends as I did years ago. Most of the "new" music I've enjoyed is three or four decades old.

Contrary to other opinions and tastes here I think I would have enjoyed the Berio trombone and orchestra piece.

Thanks for the review!

[Quijote]

Phillip, I take it you do not much care for Francesconi? Unfortunately, for myself, I do not have the exposure to current composers and music trends as I did years ago. Most of the "new" music I've enjoyed is three or four decades old.

Contrary to other opinions and tastes here I think I would have enjoyed the Berio trombone and orchestra piece.

Thanks for the review!

No, I did like the first Francesconi piece, but it was just too warm in the concert hall, hence the early escape for a quick beer and fag. I do regret missing his second piece. Listening to such music with the due attention requires that music to be played in suitable conditions! I would have done the same if the concert had featured works by Beethoven.

[DavidO]

Anyway, to make a long story short I have been listening to some Medieval music. No I do not get it but I like listening to it, . I would have to understand a lot more about music to understand.

Here is an example:
Perotin- http://www.youtube.com/watch?v=EJxRDhejtwo

Imagine that moment (& I use the word moment metaphorically, like referring to the moment at which fire was invented) at which monophony transformed somehow into homophony, & the later moment (presumably later?) at which homophony transformed into polyphony. These were epochal.

[Quijote]

Imagine that moment (& I use the word moment metaphorically, like referring to the moment at which fire was invented) at which monophony transformed somehow into homophony, & the later moment (presumably later?) at which homophony transformed into polyphony. These were epochal.

Quite nicely put, DavidO, though your post seems to suggest some sort of "historical inevitability" (rather like Marx's historical determinism). Then again, perhaps I have had too much "ether" tonight, so apologies if I am barking up the wrong tree!

[Michael]

Listening to the complete Beatles catalogue remastered. Bliss.
(Apologies for lowering the tone - a moot point - but I am honestly responding to the title of this thread. Normal relations with Ludwig van will be resumed very soon.)
PDG: Where are you when I need you?

[Chris]

Listening to the complete Beatles catalogue remastered. Bliss.
(Apologies for lowering the tone - a moot point - but I am honestly responding to the title of this thread. Normal relations with Ludwig van will be resumed very soon.)
PDG: Where are you when I need you?

No problem - I was just playing some Beatles Rock Band with my sister!

[Quijote]

[...]
(Apologies for lowering the tone - a moot point - but I am honestly responding to the title of this thread. Normal relations with Ludwig van will be resumed very soon.)
PDG: Where are you when I need you?

A moot point indeed! I'd like to "mute" you, Michael, hah!
Where is PDG? I think it is clear : he must have a new girlfriend or something.

[Preston]

"popped out during a concert for a beer and a fag"

Yes, that would be unacceptable while at a concert in America!

[Quijote]

Yes, that would be unacceptable while at a concert in America!

What, popping out, the beer, or the fag?

[Quijote]

Last night I went to the Concert de Clôture (closing concert) of Strasbourg's Musica contemporary music festival. An absolute joy. On the programme :

Dai FUJIKURA : Secret Forest (2008);
Yann ROBIN : Art of Metal III (2007);
Luciano BERIO : Laborintus II (1965).

The above with the Ensemble Intercontemporain (founded by Boulez, I remind you) and the vocal ensemble Accentus-Axe 21.

The only work known to me was the Berio, which has entered the "canon" of European art music. The other two knocked me flat.

First, the Fujikura : on stage 8 or so violins, 2 'celli, one double bass; among the audience, two French horns, flute, bassoon and clarinet. The "spatialisation" itself was interesting enough, but the work was a tour de force of string technique that left me agape.

Next up, the Robin : this piece simply "exploded" onto the scene! And the clarinette contrebasse : a huge instrument that you play standing up with a supporting spike. Absolutely knock-out expressive potential, and played by a virtuoso, and backed up of course by a virtuoso ensemble. I can think of no better ambassadors for contemporary music.

The Berio : well, as said, a work that has entered the canon; strangely enough, it sounded a little dated, but is still a masterwork.

After the concert (no popping out for a beer and fag this time), a "pot" (wine and buffet), which was a great end to a great evening. The turnout (for the concert) : approx. 800. Very gratifying.

[Chris]

Listening now to the Bach flute sonatas, with the partita for solo flute coming up after.

[Preston]

Tomorrow night (Friday) I will be seeing these pieces performed by a chamber orchestra.

LUDWIG VAN BEETHOVEN: Symphony No. 4, Op. 60, B-flat major
JOSEPH HAYDN: Trumpet Concerto, E-flat major
JOHANNES BRAHMS: Variations on a Theme of Joseph Haydn, Op. 56a
J. BRAHMS: 3 Hungarian Dances

Can't wait!

[Sorrano]

Sounds like a fun concert, Preston! Don't forget to write a review here. However, the trumpet concerto would probably not be too interesting to me as the local radio station plays it nearly every week and sometimes daily. At least it seems that way.