New Debussy Symphony Discovered

It's sometimes been said that all industrial music is written in the
same key (putatively A minor), and while in spite of Din Fiv's album
_Escape to Reality_ I don't really believe that's true, I do find myself
wondering with regard to "classical" (symphonic) music whether you can put
any three or four Debussy movements together and make yourself a nice new
piece.

In that spirit, I've discovered a luvverly new Debussy symphony, which
we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
it's French or close to French anyway so who cares, consisting of "Nuages"
("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
shipwreck so they can eat, later applied to ladies of expedience and also
loud, usually emergency signal-horns), also from _Nocturnes_; and finally
"Nuages" again, all making for a very nice and quite absorbing if
relatively soft half-hour-plus.

Well, that's our culture for the year. Hope you enjoyed it.

_Ol' red wire._ (Ohio River Valley French)

--

tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

Once again the familiar miracle: from chaos, music.

< Vance

 

mimus wrote:
> It's sometimes been said that all industrial music is written in the
> same key (putatively A minor), and while in spite of Din Fiv's album
> _Escape to Reality_ I don't really believe that's true, I do find myself
> wondering with regard to "classical" (symphonic) music whether you can put
> any three or four Debussy movements together and make yourself a nice new
> piece.
>
> In that spirit, I've discovered a luvverly new Debussy symphony, which
> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
> it's French or close to French anyway so who cares, consisting of "Nuages"
> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
> shipwreck so they can eat, later applied to ladies of expedience and also
> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
> "Nuages" again, all making for a very nice and quite absorbing if
> relatively soft half-hour-plus.
>
> Well, that's our culture for the year. Hope you enjoyed it.
>
> _Ol' red wire._ (Ohio River Valley French)
>
"Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
pentameter structure with two other syllables. You wouldn't want the
French laughing at the good ol' USA any more than they already do.

Theres a Mahler thing called Lob des hohen Verstandes which includes
a need to distinguish between the voices of the nightingale, cuckoo and
donkey. Some interpretations are very convincing - that is the mezzo
soprano has a sense of humor and musically appropriate barnyard noise
skillz.

My kind of culture.

--
nuts

 

On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:

> mimus wrote:
>
>> It's sometimes been said that all industrial music is written in the
>> same key (putatively A minor), and while in spite of Din Fiv's album
>> _Escape to Reality_ I don't really believe that's true, I do find myself
>> wondering with regard to "classical" (symphonic) music whether you can put
>> any three or four Debussy movements together and make yourself a nice new
>> piece.
>>
>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>> it's French or close to French anyway so who cares, consisting of "Nuages"
>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>> shipwreck so they can eat, later applied to ladies of expedience and also
>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>> "Nuages" again, all making for a very nice and quite absorbing if
>> relatively soft half-hour-plus.
>>
>> Well, that's our culture for the year. Hope you enjoyed it.
>>
>> _Ol' red wire._ (Ohio River Valley French)
>
> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
> pentameter structure with two other syllables. You wouldn't want the
> French laughing at the good ol' USA any more than they already do.

They're too busy laughing at Sarkozy.

> Theres a Mahler thing called Lob des hohen Verstandes which
> includes a need to distinguish between the voices of the nightingale,
> cuckoo and donkey. Some interpretations are very convincing - that is
> the mezzo soprano has a sense of humor and musically appropriate
> barnyard noise skillz.
>
> My kind of culture.

He borrowed the theme from that song-- which is about a singing contest
between a nightingale and a cuckoo judged by a jackass, which is to say,
it's a song about artistic criticism-- to use as a little intro to the
fifth movement of his Fifth, the most human and warm of all his symphonic
movements.

I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
(DG) version as a unit.

That third movement, now, the Scherzo-- look out! its structure is
gorgeous, based on a handful of themes and a sequence of episodes each of
which uses a subset of those themes, and as such makes a wonderful
candidate for being the piece of music best marking the transition from
Late Romantic to Early Twentieth Century music, and was even premiered in
1900 . . . .

His Seventh though (Levine/Chicago) (RCA) is The One, especially the
second and third movements, which again play most beautifully and
peacefully as a unit.

Of course, I'm a sucker for nocturnes.

Bernstein tried at least one version of the Seventh with the New York but
it was a total disaster (I have it, unfortunately), not helped by
(presumably) him insisting that the CD tracking be keyed to the rehearsal
segments (try booting up the second and third movements with that!), and
still worse some liner notes giving his "post-Marxist analysis" of
(sociobabbling hatchet-job on) the symphony that led me for one to believe
he needed his oh-so-superior ass kicked (like he ever wrote anything as
beautiful as Mahler, still less _the Seventh_), and to be willing to
oblige.

My kind of culture!

(If this was a troll based on that rasfw thread of a few months ago,
welcome to it--heh.)

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

"What is art to me and my way of living?"
replied the tumblebug, wearily.

< _Jurgen_

 

"mimus" <tinmimus99@hotmail.com> wrote in message
news:67SdnSdeOtFOFVHanZ2dnUVZ_rmjnZ2d@giganews.com...
> On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>
> > mimus wrote:
> >
> >> It's sometimes been said that all industrial music is written in the
> >> same key (putatively A minor), and while in spite of Din Fiv's album
> >> _Escape to Reality_ I don't really believe that's true, I do find
myself
> >> wondering with regard to "classical" (symphonic) music whether you can
put
> >> any three or four Debussy movements together and make yourself a nice
new
> >> piece.
> >>
> >> In that spirit, I've discovered a luvverly new Debussy symphony, which
> >> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
> >> it's French or close to French anyway so who cares, consisting of
"Nuages"
> >> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
> >> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_);
"Sirenes"
> >> ("Sirens"-- the kind that lie around and sing to sailors hoping to
cause a
> >> shipwreck so they can eat, later applied to ladies of expedience and
also
> >> loud, usually emergency signal-horns), also from _Nocturnes_; and
finally
> >> "Nuages" again, all making for a very nice and quite absorbing if
> >> relatively soft half-hour-plus.
> >>
> >> Well, that's our culture for the year. Hope you enjoyed it.
> >>
> >> _Ol' red wire._ (Ohio River Valley French)
> >
> > "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
> > Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
> > pentameter structure with two other syllables. You wouldn't want the
> > French laughing at the good ol' USA any more than they already do.
>
> They're too busy laughing at Sarkozy.
>
> > Theres a Mahler thing called 'Lob des hohen Verstandes' which
> > includes a need to distinguish between the voices of the nightingale,
> > cuckoo and donkey. Some interpretations are very convincing - that is
> > the mezzo soprano has a sense of humor and musically appropriate
> > barnyard noise skillz.
> >
> > My kind of culture.
>
> He borrowed the theme from that song-- which is about a singing contest
> between a nightingale and a cuckoo judged by a jackass, which is to say,
> it's a song about artistic criticism-- to use as a little intro to the
> fifth movement of his Fifth, the most human and warm of all his symphonic
> movements.
>
> I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
> (DG) version as a unit.
>
> That third movement, now, the Scherzo-- look out! its structure is
> gorgeous, based on a handful of themes and a sequence of episodes each of
> which uses a subset of those themes, and as such makes a wonderful
> candidate for being the piece of music best marking the transition from
> Late Romantic to Early Twentieth Century music, and was even premiered in
> 1900 . . . .
>
> His Seventh though (Levine/Chicago) (RCA) is The One, especially the
> second and third movements, which again play most beautifully and
> peacefully as a unit.
>
> Of course, I'm a sucker for nocturnes.
>
> Bernstein tried at least one version of the Seventh with the New York but
> it was a total disaster (I have it, unfortunately), not helped by
> (presumably) him insisting that the CD tracking be keyed to the rehearsal
> segments (try booting up the second and third movements with that!), and
> still worse some liner notes giving his "post-Marxist analysis" of
> (sociobabbling hatchet-job on) the symphony that led me for one to believe
> he needed his oh-so-superior ass kicked (like he ever wrote anything as
> beautiful as Mahler, still less _the Seventh_), and to be willing to
> oblige.
>
> My kind of culture!
>
> (If this was a troll based on that rasfw thread of a few months ago,
> welcome to it--heh.)

Does your head ever hurt?

Smee

>
> --
> tinmimus99@hotmail.com
>
> smeeter 11 or maybe 12
>
> mp 10
>
> mhm 29x13
>
> "What is art to me and my way of living?"
> replied the tumblebug, wearily.
>
> < _Jurgen_
>
>

 

On Tue, 04 Mar 2008 00:05:00 -0800, pscissons wrote:

> "mimus" <tinmimus99@hotmail.com> wrote in message
> news:67SdnSdeOtFOFVHanZ2dnUVZ_rmjnZ2d@giganews.com...
>
>> On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>
>> > mimus wrote:
>> >
>> >> It's sometimes been said that all industrial music is written in the
>> >> same key (putatively A minor), and while in spite of Din Fiv's album
>> >> _Escape to Reality_ I don't really believe that's true, I do find
> myself
>> >> wondering with regard to "classical" (symphonic) music whether you can
> put
>> >> any three or four Debussy movements together and make yourself a nice
> new
>> >> piece.
>> >>
>> >> In that spirit, I've discovered a luvverly new Debussy symphony, which
>> >> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>> >> it's French or close to French anyway so who cares, consisting of
> "Nuages"
>> >> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>> >> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_);
> "Sirenes"
>> >> ("Sirens"-- the kind that lie around and sing to sailors hoping to
> cause a
>> >> shipwreck so they can eat, later applied to ladies of expedience and
> also
>> >> loud, usually emergency signal-horns), also from _Nocturnes_; and
> finally
>> >> "Nuages" again, all making for a very nice and quite absorbing if
>> >> relatively soft half-hour-plus.
>> >>
>> >> Well, that's our culture for the year. Hope you enjoyed it.
>> >>
>> >> _Ol' red wire._ (Ohio River Valley French)
>> >
>> > "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>> > Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>> > pentameter structure with two other syllables. You wouldn't want the
>> > French laughing at the good ol' USA any more than they already do.
>>
>> They're too busy laughing at Sarkozy.
>>
>> > Theres a Mahler thing called 'Lob des hohen Verstandes' which
>> > includes a need to distinguish between the voices of the nightingale,
>> > cuckoo and donkey. Some interpretations are very convincing - that is
>> > the mezzo soprano has a sense of humor and musically appropriate
>> > barnyard noise skillz.
>> >
>> > My kind of culture.
>>
>> He borrowed the theme from that song-- which is about a singing contest
>> between a nightingale and a cuckoo judged by a jackass, which is to say,
>> it's a song about artistic criticism-- to use as a little intro to the
>> fifth movement of his Fifth, the most human and warm of all his symphonic
>> movements.
>>
>> I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>> (DG) version as a unit.
>>
>> That third movement, now, the Scherzo-- look out! its structure is
>> gorgeous, based on a handful of themes and a sequence of episodes each of
>> which uses a subset of those themes, and as such makes a wonderful
>> candidate for being the piece of music best marking the transition from
>> Late Romantic to Early Twentieth Century music, and was even premiered in
>> 1900 . . . .
>>
>> His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>> second and third movements, which again play most beautifully and
>> peacefully as a unit.
>>
>> Of course, I'm a sucker for nocturnes.
>>
>> Bernstein tried at least one version of the Seventh with the New York but
>> it was a total disaster (I have it, unfortunately), not helped by
>> (presumably) him insisting that the CD tracking be keyed to the rehearsal
>> segments (try booting up the second and third movements with that!), and
>> still worse some liner notes giving his "post-Marxist analysis" of
>> (sociobabbling hatchet-job on) the symphony that led me for one to believe
>> he needed his oh-so-superior ass kicked (like he ever wrote anything as
>> beautiful as Mahler, still less _the Seventh_), and to be willing to
>> oblige.
>>
>> My kind of culture!
>>
>> (If this was a troll based on that rasfw thread of a few months ago,
>> welcome to it--heh.)
>
> Does your head ever hurt?
>
> Smee

Not listening to any of the above, no.

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

_Thurb_, tinkle, boing, fump, twang. Music, by
heaven. Music.

< _The Thurb Revolution_

 

mimus wrote:
> On Tue, 04 Mar 2008 00:05:00 -0800, pscissons wrote:
>
>>"mimus" <tinmimus99@hotmail.com> wrote in message
>>news:67SdnSdeOtFOFVHanZ2dnUVZ_rmjnZ2d@giganews.com...
>>
>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>
>>>>mimus wrote:
>>>>
>>>>>It's sometimes been said that all industrial music is written in the
>>>>>same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>_Escape to Reality_ I don't really believe that's true, I do find
>>
>>myself
>>
>>>>>wondering with regard to "classical" (symphonic) music whether you can
>>
>>put
>>
>>>>>any three or four Debussy movements together and make yourself a nice
>>
>>new
>>
>>>>>piece.
>>>>>
>>>>>In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>it's French or close to French anyway so who cares, consisting of
>>
>>"Nuages"
>>
>>>>>("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_);
>>
>>"Sirenes"
>>
>>>>>("Sirens"-- the kind that lie around and sing to sailors hoping to
>>
>>cause a
>>
>>>>>shipwreck so they can eat, later applied to ladies of expedience and
>>
>>also
>>
>>>>>loud, usually emergency signal-horns), also from _Nocturnes_; and
>>
>>finally
>>
>>>>>"Nuages" again, all making for a very nice and quite absorbing if
>>>>>relatively soft half-hour-plus.
>>>>>
>>>>>Well, that's our culture for the year. Hope you enjoyed it.
>>>>>
>>>>>_Ol' red wire._ (Ohio River Valley French)
>>>>
>>>>"Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>pentameter structure with two other syllables. You wouldn't want the
>>>>French laughing at the good ol' USA any more than they already do.
>>>
>>>They're too busy laughing at Sarkozy.
>>>
>>>
>>>>Theres a Mahler thing called 'Lob des hohen Verstandes' which
>>>>includes a need to distinguish between the voices of the nightingale,
>>>>cuckoo and donkey. Some interpretations are very convincing - that is
>>>>the mezzo soprano has a sense of humor and musically appropriate
>>>>barnyard noise skillz.
>>>>
>>>>My kind of culture.
>>>
>>>He borrowed the theme from that song-- which is about a singing contest
>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>it's a song about artistic criticism-- to use as a little intro to the
>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>movements.
>>>
>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>(DG) version as a unit.
>>>
>>>That third movement, now, the Scherzo-- look out! its structure is
>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>which uses a subset of those themes, and as such makes a wonderful
>>>candidate for being the piece of music best marking the transition from
>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>1900 . . . .
>>>
>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>second and third movements, which again play most beautifully and
>>>peacefully as a unit.
>>>
>>>Of course, I'm a sucker for nocturnes.
>>>
>>>Bernstein tried at least one version of the Seventh with the New York but
>>>it was a total disaster (I have it, unfortunately), not helped by
>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>segments (try booting up the second and third movements with that!), and
>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>oblige.
>>>
>>>My kind of culture!
>>>
>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>welcome to it--heh.)
>>
>>Does your head ever hurt?
>>
>>Smee
>
> Not listening to any of the above, no.
>
Your amplifier is a wimp.

--
nuts

 

On Tue, 04 Mar 2008 11:13:12 -0500, mixed nuts wrote:

> mimus wrote:
>
>> On Tue, 04 Mar 2008 00:05:00 -0800, pscissons wrote:
>>
>>> "mimus" <tinmimus99@hotmail.com> wrote in message
>>> news:67SdnSdeOtFOFVHanZ2dnUVZ_rmjnZ2d@giganews.com...
>>>
>>>> On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>
>>>>> mimus wrote:
>>>>>
>>>>>> It's sometimes been said that all industrial music is written in
>>>>>> the same key (putatively A minor), and while in spite of Din Fiv's
>>>>>> album _Escape to Reality_ I don't really believe that's true, I do
>>>>>> find myself wondering with regard to "classical" (symphonic) music
>>>>>> whether you can put any three or four Debussy movements together
>>>>>> and make yourself a nice new piece.
>>>>>>
>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony,
>>>>>> which we'll call _Nuit a Nuit_ (_Night to Night_), if that's
>>>>>> grammatical, and it's French or close to French anyway so who
>>>>>> cares, consisting of "Nuages" ("Clouds") from his _Nocturnes_
>>>>>> (_Nocturnes_); "De l'aube a midi sur la mer" ("From dawn to noon on
>>>>>> the sea") from _La Mer_ (_The Sea_); "Sirenes" ("Sirens"-- the kind
>>>>>> that lie around and sing to sailors hoping to cause a shipwreck so
>>>>>> they can eat, later applied to ladies of expedience and also loud,
>>>>>> usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>> relatively soft half-hour-plus.
>>>>>>
>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>
>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>
>>>>> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work
>>>>> better. Nuit a Nuit just doesn't feel right unless you need it to
>>>>> fit an iambic pentameter structure with two other syllables. You
>>>>> wouldn't want the French laughing at the good ol' USA any more than
>>>>> they already do.
>>>>
>>>> They're too busy laughing at Sarkozy.
>>>>
>>>>> Theres a Mahler thing called 'Lob des hohen Verstandes' which
>>>>> includes a need to distinguish between the voices of the
>>>>> nightingale, cuckoo and donkey. Some interpretations are very
>>>>> convincing - that is the mezzo soprano has a sense of humor and
>>>>> musically appropriate barnyard noise skillz.
>>>>>
>>>>> My kind of culture.
>>>>
>>>> He borrowed the theme from that song-- which is about a singing
>>>> contest between a nightingale and a cuckoo judged by a jackass, which
>>>> is to say, it's a song about artistic criticism-- to use as a little
>>>> intro to the fifth movement of his Fifth, the most human and warm of
>>>> all his symphonic movements.
>>>>
>>>> I play the third and fifth movements of the Bernstein/Vienna
>>>> ("Wiener") (DG) version as a unit.
>>>>
>>>> That third movement, now, the Scherzo-- look out! its structure is
>>>> gorgeous, based on a handful of themes and a sequence of episodes
>>>> each of which uses a subset of those themes, and as such makes a
>>>> wonderful candidate for being the piece of music best marking the
>>>> transition from Late Romantic to Early Twentieth Century music, and
>>>> was even premiered in 1900 . . . .
>>>>
>>>> His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>> second and third movements, which again play most beautifully and
>>>> peacefully as a unit.
>>>>
>>>> Of course, I'm a sucker for nocturnes.
>>>>
>>>> Bernstein tried at least one version of the Seventh with the New York
>>>> but it was a total disaster (I have it, unfortunately), not helped by
>>>> (presumably) him insisting that the CD tracking be keyed to the
>>>> rehearsal segments (try booting up the second and third movements
>>>> with that!), and still worse some liner notes giving his
>>>> "post-Marxist analysis" of (sociobabbling hatchet-job on) the
>>>> symphony that led me for one to believe he needed his oh-so-superior
>>>> ass kicked (like he ever wrote anything as beautiful as Mahler, still
>>>> less _the Seventh_), and to be willing to oblige.
>>>>
>>>> My kind of culture!
>>>>
>>>> (If this was a troll based on that rasfw thread of a few months ago,
>>>> welcome to it--heh.)
>>>
>>> Does your head ever hurt?
>>>
>>> Smee
>>
>> Not listening to any of the above, no.
>
> Your amplifier is a wimp.

I do 'phones, man.

And do crank it a bit for both third movements above.

(Not to mention teh industrial.)

--

tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

Once again the familiar miracle: from chaos, music.

< Vance

 

On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
wrote:

>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>
>> mimus wrote:
>>
>>> It's sometimes been said that all industrial music is written in the
>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>> wondering with regard to "classical" (symphonic) music whether you can put
>>> any three or four Debussy movements together and make yourself a nice new
>>> piece.
>>>
>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>> "Nuages" again, all making for a very nice and quite absorbing if
>>> relatively soft half-hour-plus.
>>>
>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>
>>> _Ol' red wire._ (Ohio River Valley French)
>>
>> "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>> pentameter structure with two other syllables. You wouldn't want the
>> French laughing at the good ol' USA any more than they already do.
>
>They're too busy laughing at Sarkozy.
>
>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>> includes a need to distinguish between the voices of the nightingale,
>> cuckoo and donkey. Some interpretations are very convincing - that is
>> the mezzo soprano has a sense of humor and musically appropriate
>> barnyard noise skillz.
>>
>> My kind of culture.
>
>He borrowed the theme from that song-- which is about a singing contest
>between a nightingale and a cuckoo judged by a jackass, which is to say,
>it's a song about artistic criticism-- to use as a little intro to the
>fifth movement of his Fifth, the most human and warm of all his symphonic
>movements.
>
>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>(DG) version as a unit.
>
>That third movement, now, the Scherzo-- look out! its structure is
>gorgeous, based on a handful of themes and a sequence of episodes each of
>which uses a subset of those themes, and as such makes a wonderful
>candidate for being the piece of music best marking the transition from
>Late Romantic to Early Twentieth Century music, and was even premiered in
>1900 . . . .
>
>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>second and third movements, which again play most beautifully and
>peacefully as a unit.
>
>Of course, I'm a sucker for nocturnes.
>
>Bernstein tried at least one version of the Seventh with the New York but
>it was a total disaster (I have it, unfortunately), not helped by
>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>segments (try booting up the second and third movements with that!), and
>still worse some liner notes giving his "post-Marxist analysis" of
>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>beautiful as Mahler, still less _the Seventh_), and to be willing to
>oblige.
>
>My kind of culture!
>
>(If this was a troll based on that rasfw thread of a few months ago,
>welcome to it--heh.)

music geek

--
dave hillstrom mhm15x4 zrbj

<This space for rent.>

 

On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:

> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
> wrote:
>
>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>
>>> mimus wrote:
>>>
>>>> It's sometimes been said that all industrial music is written in the
>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>> any three or four Debussy movements together and make yourself a nice new
>>>> piece.
>>>>
>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>> relatively soft half-hour-plus.
>>>>
>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>
>>>> _Ol' red wire._ (Ohio River Valley French)
>>>
>>> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>> pentameter structure with two other syllables. You wouldn't want the
>>> French laughing at the good ol' USA any more than they already do.
>>
>>They're too busy laughing at Sarkozy.
>>
>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>> includes a need to distinguish between the voices of the nightingale,
>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>> the mezzo soprano has a sense of humor and musically appropriate
>>> barnyard noise skillz.
>>>
>>> My kind of culture.
>>
>>He borrowed the theme from that song-- which is about a singing contest
>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>it's a song about artistic criticism-- to use as a little intro to the
>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>movements.
>>
>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>(DG) version as a unit.
>>
>>That third movement, now, the Scherzo-- look out! its structure is
>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>which uses a subset of those themes, and as such makes a wonderful
>>candidate for being the piece of music best marking the transition from
>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>1900 . . . .
>>
>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>second and third movements, which again play most beautifully and
>>peacefully as a unit.
>>
>>Of course, I'm a sucker for nocturnes.
>>
>>Bernstein tried at least one version of the Seventh with the New York but
>>it was a total disaster (I have it, unfortunately), not helped by
>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>segments (try booting up the second and third movements with that!), and
>>still worse some liner notes giving his "post-Marxist analysis" of
>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>oblige.
>>
>>My kind of culture!
>>
>>(If this was a troll based on that rasfw thread of a few months ago,
>>welcome to it--heh.)
>
> music geek

Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
through "classical", mostly symphonic, readin' up on it and working my way
around and through various local library collections of often fairly
grotty copies of stuff, and came up with some stuff I like very much,
such as the following creme de la creme (with my nicknames for some of 'em):

Mozart/Symphony 40 ("Mars")
Beethoven/Fourth ("Mozart")
Brahms/Fourth ("Beethoven")
Mahler/Fourth, Fifth, Seventh
Schoenberg/Suite for Piano, Trio (string)
Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
Shostakovich/Fourth ("Mahler")

Versions matter, most definitely-- I don't think the technical skills of
the top-level orchestras varies that much, but unsympathetic or even
loonie conducting and poor recording can totally trash a piece.

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

"What is art to me and my way of living?"
replied the tumblebug, wearily.

< _Jurgen_

 

mimus wrote:
> On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>
>>On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>wrote:
>>
>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>
>>>>mimus wrote:
>>>>
>>>>>It's sometimes been said that all industrial music is written in the
>>>>>same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>_Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>wondering with regard to "classical" (symphonic) music whether you can put
>>>>>any three or four Debussy movements together and make yourself a nice new
>>>>>piece.
>>>>>
>>>>>In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>"Nuages" again, all making for a very nice and quite absorbing if
>>>>>relatively soft half-hour-plus.
>>>>>
>>>>>Well, that's our culture for the year. Hope you enjoyed it.
>>>>>
>>>>>_Ol' red wire._ (Ohio River Valley French)
>>>>
>>>>"Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>pentameter structure with two other syllables. You wouldn't want the
>>>>French laughing at the good ol' USA any more than they already do.
>>>
>>>They're too busy laughing at Sarkozy.
>>>
>>>>Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>includes a need to distinguish between the voices of the nightingale,
>>>>cuckoo and donkey. Some interpretations are very convincing - that is
>>>>the mezzo soprano has a sense of humor and musically appropriate
>>>>barnyard noise skillz.
>>>>
>>>>My kind of culture.
>>>
>>>He borrowed the theme from that song-- which is about a singing contest
>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>it's a song about artistic criticism-- to use as a little intro to the
>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>movements.
>>>
>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>(DG) version as a unit.
>>>
>>>That third movement, now, the Scherzo-- look out! its structure is
>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>which uses a subset of those themes, and as such makes a wonderful
>>>candidate for being the piece of music best marking the transition from
>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>1900 . . . .
>>>
>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>second and third movements, which again play most beautifully and
>>>peacefully as a unit.
>>>
>>>Of course, I'm a sucker for nocturnes.
>>>
>>>Bernstein tried at least one version of the Seventh with the New York but
>>>it was a total disaster (I have it, unfortunately), not helped by
>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>segments (try booting up the second and third movements with that!), and
>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>oblige.
>>>
>>>My kind of culture!
>>>
>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>welcome to it--heh.)
>>
>>music geek
>
> Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
> through "classical", mostly symphonic, readin' up on it and working my way
> around and through various local library collections of often fairly
> grotty copies of stuff, and came up with some stuff I like very much,
> such as the following creme de la creme (with my nicknames for some of 'em):
>
> Mozart/Symphony 40 ("Mars")
> Beethoven/Fourth ("Mozart")
> Brahms/Fourth ("Beethoven")
> Mahler/Fourth, Fifth, Seventh
> Schoenberg/Suite for Piano, Trio (string)
> Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
> Shostakovich/Fourth ("Mahler")
>
> Versions matter, most definitely-- I don't think the technical skills of
> the top-level orchestras varies that much, but unsympathetic or even
> loonie conducting and poor recording can totally trash a piece.
>
Widely varying skillz and loonie conducting can be good:

Itzhak Perlman, Celia Cruz, Paul Simon, Ladysmith Black Mombazo, the
Scatman... all performing together!



--
nuts

 

On Tue, 04 Mar 2008 14:01:26 -0500, mixed nuts wrote:

> mimus wrote:
>
>> On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>
>>>On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>>wrote:
>>>
>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>
>>>>>mimus wrote:
>>>>>
>>>>>>It's sometimes been said that all industrial music is written in the
>>>>>>same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>>_Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>>wondering with regard to "classical" (symphonic) music whether you can put
>>>>>>any three or four Debussy movements together and make yourself a nice new
>>>>>>piece.
>>>>>>
>>>>>>In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>>we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>>it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>>("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>>mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>>("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>>shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>>loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>>"Nuages" again, all making for a very nice and quite absorbing if
>>>>>>relatively soft half-hour-plus.
>>>>>>
>>>>>>Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>
>>>>>>_Ol' red wire._ (Ohio River Valley French)
>>>>>
>>>>>"Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>>Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>>pentameter structure with two other syllables. You wouldn't want the
>>>>>French laughing at the good ol' USA any more than they already do.
>>>>
>>>>They're too busy laughing at Sarkozy.
>>>>
>>>>>Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>>includes a need to distinguish between the voices of the nightingale,
>>>>>cuckoo and donkey. Some interpretations are very convincing - that is
>>>>>the mezzo soprano has a sense of humor and musically appropriate
>>>>>barnyard noise skillz.
>>>>>
>>>>>My kind of culture.
>>>>
>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>movements.
>>>>
>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>(DG) version as a unit.
>>>>
>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>candidate for being the piece of music best marking the transition from
>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>1900 . . . .
>>>>
>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>second and third movements, which again play most beautifully and
>>>>peacefully as a unit.
>>>>
>>>>Of course, I'm a sucker for nocturnes.
>>>>
>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>segments (try booting up the second and third movements with that!), and
>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>oblige.
>>>>
>>>>My kind of culture!
>>>>
>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>welcome to it--heh.)
>>>
>>>music geek
>>
>> Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>> through "classical", mostly symphonic, readin' up on it and working my way
>> around and through various local library collections of often fairly
>> grotty copies of stuff, and came up with some stuff I like very much,
>> such as the following creme de la creme (with my nicknames for some of 'em):
>>
>> Mozart/Symphony 40 ("Mars")
>> Beethoven/Fourth ("Mozart")
>> Brahms/Fourth ("Beethoven")
>> Mahler/Fourth, Fifth, Seventh
>> Schoenberg/Suite for Piano, Trio (string)
>> Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>> Shostakovich/Fourth ("Mahler")
>>
>> Versions matter, most definitely-- I don't think the technical skills of
>> the top-level orchestras varies that much, but unsympathetic or even
>> loonie conducting and poor recording can totally trash a piece.
>
> Widely varying skillz and loonie conducting can be good:
>
> Itzhak Perlman, Celia Cruz, Paul Simon, Ladysmith Black Mombazo, the
> Scatman... all performing together!
>
>

What are they doing, a PDQ Bach setting of a Yoko Ono composition?

(I don't have my sound rigged up on this here box.)

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

Let's get the hell out of here while we can still pass
our Rorschasch tests.

< _The Last Happy Hour_

 

On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
wrote:

>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>
>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>> wrote:
>>
>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>
>>>> mimus wrote:
>>>>
>>>>> It's sometimes been said that all industrial music is written in the
>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>> piece.
>>>>>
>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>> relatively soft half-hour-plus.
>>>>>
>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>
>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>
>>>> "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>> pentameter structure with two other syllables. You wouldn't want the
>>>> French laughing at the good ol' USA any more than they already do.
>>>
>>>They're too busy laughing at Sarkozy.
>>>
>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>> includes a need to distinguish between the voices of the nightingale,
>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>> barnyard noise skillz.
>>>>
>>>> My kind of culture.
>>>
>>>He borrowed the theme from that song-- which is about a singing contest
>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>it's a song about artistic criticism-- to use as a little intro to the
>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>movements.
>>>
>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>(DG) version as a unit.
>>>
>>>That third movement, now, the Scherzo-- look out! its structure is
>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>which uses a subset of those themes, and as such makes a wonderful
>>>candidate for being the piece of music best marking the transition from
>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>1900 . . . .
>>>
>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>second and third movements, which again play most beautifully and
>>>peacefully as a unit.
>>>
>>>Of course, I'm a sucker for nocturnes.
>>>
>>>Bernstein tried at least one version of the Seventh with the New York but
>>>it was a total disaster (I have it, unfortunately), not helped by
>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>segments (try booting up the second and third movements with that!), and
>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>oblige.
>>>
>>>My kind of culture!
>>>
>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>welcome to it--heh.)
>>
>> music geek
>
>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>through "classical", mostly symphonic, readin' up on it and working my way
>around and through various local library collections of often fairly
>grotty copies of stuff, and came up with some stuff I like very much,
>such as the following creme de la creme (with my nicknames for some of 'em):
>
>Mozart/Symphony 40 ("Mars")
>Beethoven/Fourth ("Mozart")
>Brahms/Fourth ("Beethoven")
>Mahler/Fourth, Fifth, Seventh
>Schoenberg/Suite for Piano, Trio (string)
>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>Shostakovich/Fourth ("Mahler")
>
>Versions matter, most definitely-- I don't think the technical skills of
>the top-level orchestras varies that much, but unsympathetic or even
>loonie conducting and poor recording can totally trash a piece.

music geek

--
dave hillstrom mhm15x4 zrbj

<This space for rent.>

 

On Tue, 04 Mar 2008 20:47:31 -0500, dave hillstrom wrote:

> On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
> wrote:
>
>>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>
>>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>> wrote:
>>>
>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>
>>>>> mimus wrote:
>>>>>
>>>>>> It's sometimes been said that all industrial music is written in the
>>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>>> piece.
>>>>>>
>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>> relatively soft half-hour-plus.
>>>>>>
>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>
>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>
>>>>> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>> pentameter structure with two other syllables. You wouldn't want the
>>>>> French laughing at the good ol' USA any more than they already do.
>>>>
>>>>They're too busy laughing at Sarkozy.
>>>>
>>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>> includes a need to distinguish between the voices of the nightingale,
>>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>>> barnyard noise skillz.
>>>>>
>>>>> My kind of culture.
>>>>
>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>movements.
>>>>
>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>(DG) version as a unit.
>>>>
>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>candidate for being the piece of music best marking the transition from
>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>1900 . . . .
>>>>
>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>second and third movements, which again play most beautifully and
>>>>peacefully as a unit.
>>>>
>>>>Of course, I'm a sucker for nocturnes.
>>>>
>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>segments (try booting up the second and third movements with that!), and
>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>oblige.
>>>>
>>>>My kind of culture!
>>>>
>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>welcome to it--heh.)
>>>
>>> music geek
>>
>>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>>through "classical", mostly symphonic, readin' up on it and working my way
>>around and through various local library collections of often fairly
>>grotty copies of stuff, and came up with some stuff I like very much,
>>such as the following creme de la creme (with my nicknames for some of 'em):
>>
>>Mozart/Symphony 40 ("Mars")
>>Beethoven/Fourth ("Mozart")
>>Brahms/Fourth ("Beethoven")
>>Mahler/Fourth, Fifth, Seventh
>>Schoenberg/Suite for Piano, Trio (string)
>>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>>Shostakovich/Fourth ("Mahler")
>>
>>Versions matter, most definitely-- I don't think the technical skills of
>>the top-level orchestras varies that much, but unsympathetic or even
>>loonie conducting and poor recording can totally trash a piece.
>
> music geek

You'd like that movement of the _Lyrical Suite_ that starts out with the
ants.

Also, that _Trio_ of Schoenberg's has The Ultimate And I Do Mean Ultimate
Viola Part in it.

Woof.

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

Let there be another leaf.

< _Small Gods_

 

"mixed nuts" <melopsitticus@undulatus.budgie> wrote in message
news:fqk6aa$7lo$1@aioe.org...
> mimus wrote:
> > On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
> >
> >>On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
> >>wrote:
> >>
> >>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
> >>>
> >>>>mimus wrote:
> >>>>
> >>>>>It's sometimes been said that all industrial music is written in the
> >>>>>same key (putatively A minor), and while in spite of Din Fiv's album
> >>>>>_Escape to Reality_ I don't really believe that's true, I do find
myself
> >>>>>wondering with regard to "classical" (symphonic) music whether you
can put
> >>>>>any three or four Debussy movements together and make yourself a nice
new
> >>>>>piece.
> >>>>>
> >>>>>In that spirit, I've discovered a luvverly new Debussy symphony,
which
> >>>>>we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical,
and
> >>>>>it's French or close to French anyway so who cares, consisting of
"Nuages"
> >>>>>("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur
la
> >>>>>mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_);
"Sirenes"
> >>>>>("Sirens"-- the kind that lie around and sing to sailors hoping to
cause a
> >>>>>shipwreck so they can eat, later applied to ladies of expedience and
also
> >>>>>loud, usually emergency signal-horns), also from _Nocturnes_; and
finally
> >>>>>"Nuages" again, all making for a very nice and quite absorbing if
> >>>>>relatively soft half-hour-plus.
> >>>>>
> >>>>>Well, that's our culture for the year. Hope you enjoyed it.
> >>>>>
> >>>>>_Ol' red wire._ (Ohio River Valley French)
> >>>>
> >>>>"Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
> >>>>Nuit a Nuit just doesn't feel right unless you need it to fit an
iambic
> >>>>pentameter structure with two other syllables. You wouldn't want the
> >>>>French laughing at the good ol' USA any more than they already do.
> >>>
> >>>They're too busy laughing at Sarkozy.
> >>>
> >>>>Theres a Mahler thing called ?Lob des hohen Verstandes? which
> >>>>includes a need to distinguish between the voices of the nightingale,
> >>>>cuckoo and donkey. Some interpretations are very convincing - that is
> >>>>the mezzo soprano has a sense of humor and musically appropriate
> >>>>barnyard noise skillz.
> >>>>
> >>>>My kind of culture.
> >>>
> >>>He borrowed the theme from that song-- which is about a singing contest
> >>>between a nightingale and a cuckoo judged by a jackass, which is to
say,
> >>>it's a song about artistic criticism-- to use as a little intro to the
> >>>fifth movement of his Fifth, the most human and warm of all his
symphonic
> >>>movements.
> >>>
> >>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
> >>>(DG) version as a unit.
> >>>
> >>>That third movement, now, the Scherzo-- look out! its structure is
> >>>gorgeous, based on a handful of themes and a sequence of episodes each
of
> >>>which uses a subset of those themes, and as such makes a wonderful
> >>>candidate for being the piece of music best marking the transition from
> >>>Late Romantic to Early Twentieth Century music, and was even premiered
in
> >>>1900 . . . .
> >>>
> >>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
> >>>second and third movements, which again play most beautifully and
> >>>peacefully as a unit.
> >>>
> >>>Of course, I'm a sucker for nocturnes.
> >>>
> >>>Bernstein tried at least one version of the Seventh with the New York
but
> >>>it was a total disaster (I have it, unfortunately), not helped by
> >>>(presumably) him insisting that the CD tracking be keyed to the
rehearsal
> >>>segments (try booting up the second and third movements with that!),
and
> >>>still worse some liner notes giving his "post-Marxist analysis" of
> >>>(sociobabbling hatchet-job on) the symphony that led me for one to
believe
> >>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
> >>>beautiful as Mahler, still less _the Seventh_), and to be willing to
> >>>oblige.
> >>>
> >>>My kind of culture!
> >>>
> >>>(If this was a troll based on that rasfw thread of a few months ago,
> >>>welcome to it--heh.)
> >>
> >>music geek
> >
> > Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
> > through "classical", mostly symphonic, readin' up on it and working my
way
> > around and through various local library collections of often fairly
> > grotty copies of stuff, and came up with some stuff I like very much,
> > such as the following creme de la creme (with my nicknames for some of
'em):
> >
> > Mozart/Symphony 40 ("Mars")
> > Beethoven/Fourth ("Mozart")
> > Brahms/Fourth ("Beethoven")
> > Mahler/Fourth, Fifth, Seventh
> > Schoenberg/Suite for Piano, Trio (string)
> > Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
> > Shostakovich/Fourth ("Mahler")
> >
> > Versions matter, most definitely-- I don't think the technical skills of
> > the top-level orchestras varies that much, but unsympathetic or even
> > loonie conducting and poor recording can totally trash a piece.
> >
> Widely varying skillz and loonie conducting can be good:
>
> Itzhak Perlman, Celia Cruz, Paul Simon, Ladysmith Black Mombazo, the
> Scatman... all performing together!
>
>

Thank you for that. I'd forgotten how kewl Sesame street could be.

"...put down the duckie..."

Smee

>
> --
> nuts

 

On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
wrote:

>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>
>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>> wrote:
>>
>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>
>>>> mimus wrote:
>>>>
>>>>> It's sometimes been said that all industrial music is written in the
>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>> piece.
>>>>>
>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>> relatively soft half-hour-plus.
>>>>>
>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>
>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>
>>>> "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>> pentameter structure with two other syllables. You wouldn't want the
>>>> French laughing at the good ol' USA any more than they already do.
>>>
>>>They're too busy laughing at Sarkozy.
>>>
>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>> includes a need to distinguish between the voices of the nightingale,
>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>> barnyard noise skillz.
>>>>
>>>> My kind of culture.
>>>
>>>He borrowed the theme from that song-- which is about a singing contest
>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>it's a song about artistic criticism-- to use as a little intro to the
>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>movements.
>>>
>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>(DG) version as a unit.
>>>
>>>That third movement, now, the Scherzo-- look out! its structure is
>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>which uses a subset of those themes, and as such makes a wonderful
>>>candidate for being the piece of music best marking the transition from
>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>1900 . . . .
>>>
>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>second and third movements, which again play most beautifully and
>>>peacefully as a unit.
>>>
>>>Of course, I'm a sucker for nocturnes.
>>>
>>>Bernstein tried at least one version of the Seventh with the New York but
>>>it was a total disaster (I have it, unfortunately), not helped by
>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>segments (try booting up the second and third movements with that!), and
>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>oblige.
>>>
>>>My kind of culture!
>>>
>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>welcome to it--heh.)
>>
>> music geek
>
>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>through "classical", mostly symphonic, readin' up on it and working my way
>around and through various local library collections of often fairly
>grotty copies of stuff, and came up with some stuff I like very much,
>such as the following creme de la creme (with my nicknames for some of 'em):
>
>Mozart/Symphony 40 ("Mars")
>Beethoven/Fourth ("Mozart")
>Brahms/Fourth ("Beethoven")
>Mahler/Fourth, Fifth, Seventh
>Schoenberg/Suite for Piano, Trio (string)
>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>Shostakovich/Fourth ("Mahler")
>
>Versions matter, most definitely-- I don't think the technical skills of
>the top-level orchestras varies that much, but unsympathetic or even
>loonie conducting and poor recording can totally trash a piece.


LEOPOLD!!!

 

wrote:

>
> "mixed nuts" <melopsitticus@undulatus.budgie> wrote in message
> news:fqk6aa$7lo$1@aioe.org...
>> mimus wrote:
>> > On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>> >
>> >>On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>> >>wrote:
>> >>
>> >>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>> >>>
>> >>>>mimus wrote:
>> >>>>
>> >>>>>It's sometimes been said that all industrial music is written in the
>> >>>>>same key (putatively A minor), and while in spite of Din Fiv's album
>> >>>>>_Escape to Reality_ I don't really believe that's true, I do find
>> >>>>>myself wondering with regard to "classical" (symphonic) music
whether
>> >>>>>you can put any three or four Debussy movements together and make
>> >>>>>yourself a nice new piece.
>> >>>>>
>> >>>>>In that spirit, I've discovered a luvverly new Debussy symphony,
>> >>>>>which we'll call _Nuit a Nuit_ (_Night to Night_), if that's
>> >>>>>grammatical, and it's French or close to French anyway so who cares,
>> >>>>>consisting of "Nuages" ("Clouds") from his _Nocturnes_
(_Nocturnes_);
>> >>>>>"De l'aube a midi sur la mer" ("From dawn to noon on the sea") from
>> >>>>>_La Mer_ (_The Sea_); "Sirenes" ("Sirens"-- the kind that lie around
>> >>>>>and sing to sailors hoping to cause a shipwreck so they can eat,
>> >>>>>later applied to ladies of expedience and also loud, usually
>> >>>>>emergency signal-horns), also from _Nocturnes_; and finally "Nuages"
>> >>>>>again, all making for a very nice and quite absorbing if relatively
>> >>>>>soft half-hour-plus.
>> >>>>>
>> >>>>>Well, that's our culture for the year. Hope you enjoyed it.
>> >>>>>
>> >>>>>_Ol' red wire._ (Ohio River Valley French)
>> >>>>
>> >>>>"Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>> >>>>Nuit a Nuit just doesn't feel right unless you need it to fit an
>> >>>>iambic pentameter structure with two other syllables. You wouldn't
>> >>>>want the French laughing at the good ol' USA any more than they
>> >>>>already do.
>> >>>
>> >>>They're too busy laughing at Sarkozy.
>> >>>
>> >>>>Theres a Mahler thing called ?Lob des hohen Verstandes? which
>> >>>>includes a need to distinguish between the voices of the nightingale,
>> >>>>cuckoo and donkey. Some interpretations are very convincing - that is
>> >>>>the mezzo soprano has a sense of humor and musically appropriate
>> >>>>barnyard noise skillz.
>> >>>>
>> >>>>My kind of culture.
>> >>>
>> >>>He borrowed the theme from that song-- which is about a singing
contest
>> >>>between a nightingale and a cuckoo judged by a jackass, which is to
>> >>>say, it's a song about artistic criticism-- to use as a little intro
to
>> >>>the fifth movement of his Fifth, the most human and warm of all his
>> >>>symphonic movements.
>> >>>
>> >>>I play the third and fifth movements of the Bernstein/Vienna
("Wiener")
>> >>>(DG) version as a unit.
>> >>>
>> >>>That third movement, now, the Scherzo-- look out! its structure is
>> >>>gorgeous, based on a handful of themes and a sequence of episodes each
>> >>>of which uses a subset of those themes, and as such makes a wonderful
>> >>>candidate for being the piece of music best marking the transition
from
>> >>>Late Romantic to Early Twentieth Century music, and was even premiered
>> >>>in 1900 . . . .
>> >>>
>> >>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>> >>>second and third movements, which again play most beautifully and
>> >>>peacefully as a unit.
>> >>>
>> >>>Of course, I'm a sucker for nocturnes.
>> >>>
>> >>>Bernstein tried at least one version of the Seventh with the New York
>> >>>but it was a total disaster (I have it, unfortunately), not helped by
>> >>>(presumably) him insisting that the CD tracking be keyed to the
>> >>>rehearsal segments (try booting up the second and third movements with
>> >>>that!), and still worse some liner notes giving his "post-Marxist
>> >>>analysis" of (sociobabbling hatchet-job on) the symphony that led me
>> >>>for one to believe he needed his oh-so-superior ass kicked (like he
>> >>>ever wrote anything as beautiful as Mahler, still less _the Seventh_),
>> >>>and to be willing to oblige.
>> >>>
>> >>>My kind of culture!
>> >>>
>> >>>(If this was a troll based on that rasfw thread of a few months ago,
>> >>>welcome to it--heh.)
>> >>
>> >>music geek
>> >
>> > Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>> > through "classical", mostly symphonic, readin' up on it and working my
>> > way around and through various local library collections of often
fairly
>> > grotty copies of stuff, and came up with some stuff I like very much,
>> > such as the following creme de la creme (with my nicknames for some of
>> > 'em):
>> >
>> > Mozart/Symphony 40 ("Mars")
>> > Beethoven/Fourth ("Mozart")
>> > Brahms/Fourth ("Beethoven")
>> > Mahler/Fourth, Fifth, Seventh
>> > Schoenberg/Suite for Piano, Trio (string)
>> > Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>> > Shostakovich/Fourth ("Mahler")
>> >
>> > Versions matter, most definitely-- I don't think the technical skills
of
>> > the top-level orchestras varies that much, but unsympathetic or even
>> > loonie conducting and poor recording can totally trash a piece.
>> >
>> Widely varying skillz and loonie conducting can be good:
>>
>> Itzhak Perlman, Celia Cruz, Paul Simon, Ladysmith Black Mombazo, the
>> Scatman... all performing together!
>>
>>
>
> Thank you for that. I'd forgotten how kewl Sesame street could be.
>
> "...put down the duckie..."

And don't forget Looney Tunes.

"Kill da wa-bit, kill da Wa-bit, kill da WA-bit, kill da wa-bit"

And of course, the main theme

+++
This Is It (Bugs Bunny, Overture)

Overture, curtains, lights,
This is it, the night of nights
No more rehearsing and nursing a part
We know every part by heart
Overture, curtains, lights
This is it, you'll hit the heights
And oh what heights we'll hit
On with the show this is it

Tonight what heights we'll hit
On with the show this is it
+++
--
Tim Weaver

I know you believe you understand what you think I said,
but I'm not sure you realize that what you heard is not
what I meant.

 

On Tue, 04 Mar 2008 22:01:33 -0500, mimus <tinmimus99@hotmail.com>
wrote:

>On Tue, 04 Mar 2008 20:47:31 -0500, dave hillstrom wrote:
>
>> On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
>> wrote:
>>
>>>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>>
>>>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>>> wrote:
>>>>
>>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>>
>>>>>> mimus wrote:
>>>>>>
>>>>>>> It's sometimes been said that all industrial music is written in the
>>>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>>>> piece.
>>>>>>>
>>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>>> relatively soft half-hour-plus.
>>>>>>>
>>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>>
>>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>>
>>>>>> "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>>>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>>> pentameter structure with two other syllables. You wouldn't want the
>>>>>> French laughing at the good ol' USA any more than they already do.
>>>>>
>>>>>They're too busy laughing at Sarkozy.
>>>>>
>>>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>>> includes a need to distinguish between the voices of the nightingale,
>>>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>>>> barnyard noise skillz.
>>>>>>
>>>>>> My kind of culture.
>>>>>
>>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>>movements.
>>>>>
>>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>>(DG) version as a unit.
>>>>>
>>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>>candidate for being the piece of music best marking the transition from
>>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>>1900 . . . .
>>>>>
>>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>>second and third movements, which again play most beautifully and
>>>>>peacefully as a unit.
>>>>>
>>>>>Of course, I'm a sucker for nocturnes.
>>>>>
>>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>>segments (try booting up the second and third movements with that!), and
>>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>>oblige.
>>>>>
>>>>>My kind of culture!
>>>>>
>>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>>welcome to it--heh.)
>>>>
>>>> music geek
>>>
>>>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>>>through "classical", mostly symphonic, readin' up on it and working my way
>>>around and through various local library collections of often fairly
>>>grotty copies of stuff, and came up with some stuff I like very much,
>>>such as the following creme de la creme (with my nicknames for some of 'em):
>>>
>>>Mozart/Symphony 40 ("Mars")
>>>Beethoven/Fourth ("Mozart")
>>>Brahms/Fourth ("Beethoven")
>>>Mahler/Fourth, Fifth, Seventh
>>>Schoenberg/Suite for Piano, Trio (string)
>>>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>>>Shostakovich/Fourth ("Mahler")
>>>
>>>Versions matter, most definitely-- I don't think the technical skills of
>>>the top-level orchestras varies that much, but unsympathetic or even
>>>loonie conducting and poor recording can totally trash a piece.
>>
>> music geek
>
>You'd like that movement of the _Lyrical Suite_ that starts out with the
>ants.
>
>Also, that _Trio_ of Schoenberg's has The Ultimate And I Do Mean Ultimate
>Viola Part in it.
>
>Woof.

i played viola in highschool.

--
dave hillstrom mhm15x4 zrbj

<This space for rent.>

 

On Wed, 05 Mar 2008 20:28:20 -0500, dave hillstrom wrote:

> On Tue, 04 Mar 2008 22:01:33 -0500, mimus <tinmimus99@hotmail.com>
> wrote:
>
>>On Tue, 04 Mar 2008 20:47:31 -0500, dave hillstrom wrote:
>>
>>> On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
>>> wrote:
>>>
>>>>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>>>
>>>>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>>>> wrote:
>>>>>
>>>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>>>
>>>>>>> mimus wrote:
>>>>>>>
>>>>>>>> It's sometimes been said that all industrial music is written in the
>>>>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>>>>> piece.
>>>>>>>>
>>>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>>>> relatively soft half-hour-plus.
>>>>>>>>
>>>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>>>
>>>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>>>
>>>>>>> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>>>> pentameter structure with two other syllables. You wouldn't want the
>>>>>>> French laughing at the good ol' USA any more than they already do.
>>>>>>
>>>>>>They're too busy laughing at Sarkozy.
>>>>>>
>>>>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>>>> includes a need to distinguish between the voices of the nightingale,
>>>>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>>>>> barnyard noise skillz.
>>>>>>>
>>>>>>> My kind of culture.
>>>>>>
>>>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>>>movements.
>>>>>>
>>>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>>>(DG) version as a unit.
>>>>>>
>>>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>>>candidate for being the piece of music best marking the transition from
>>>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>>>1900 . . . .
>>>>>>
>>>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>>>second and third movements, which again play most beautifully and
>>>>>>peacefully as a unit.
>>>>>>
>>>>>>Of course, I'm a sucker for nocturnes.
>>>>>>
>>>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>>>segments (try booting up the second and third movements with that!), and
>>>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>>>oblige.
>>>>>>
>>>>>>My kind of culture!
>>>>>>
>>>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>>>welcome to it--heh.)
>>>>>
>>>>> music geek
>>>>
>>>>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>>>>through "classical", mostly symphonic, readin' up on it and working my way
>>>>around and through various local library collections of often fairly
>>>>grotty copies of stuff, and came up with some stuff I like very much,
>>>>such as the following creme de la creme (with my nicknames for some of 'em):
>>>>
>>>>Mozart/Symphony 40 ("Mars")
>>>>Beethoven/Fourth ("Mozart")
>>>>Brahms/Fourth ("Beethoven")
>>>>Mahler/Fourth, Fifth, Seventh
>>>>Schoenberg/Suite for Piano, Trio (string)
>>>>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>>>>Shostakovich/Fourth ("Mahler")
>>>>
>>>>Versions matter, most definitely-- I don't think the technical skills of
>>>>the top-level orchestras varies that much, but unsympathetic or even
>>>>loonie conducting and poor recording can totally trash a piece.
>>>
>>> music geek
>>
>>You'd like that movement of the _Lyrical Suite_ that starts out with the
>>ants.
>>
>>Also, that _Trio_ of Schoenberg's has The Ultimate And I Do Mean Ultimate
>>Viola Part in it.
>>
>>Woof.
>
> i played viola in highschool.

I knew that. That was a subtle attempt at seducing you into giving the
Second Viennese School a listen. Heh.

(It _is_ TUAIDMUVP, though.)

--

tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

Once again the familiar miracle: from chaos, music.

< Vance

 

On Wed, 05 Mar 2008 20:47:53 -0500, mimus <tinmimus99@hotmail.com>
wrote:

>On Wed, 05 Mar 2008 20:28:20 -0500, dave hillstrom wrote:
>
>> On Tue, 04 Mar 2008 22:01:33 -0500, mimus <tinmimus99@hotmail.com>
>> wrote:
>>
>>>On Tue, 04 Mar 2008 20:47:31 -0500, dave hillstrom wrote:
>>>
>>>> On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
>>>> wrote:
>>>>
>>>>>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>>>>
>>>>>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>>>>> wrote:
>>>>>>
>>>>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>>>>
>>>>>>>> mimus wrote:
>>>>>>>>
>>>>>>>>> It's sometimes been said that all industrial music is written in the
>>>>>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>>>>>> piece.
>>>>>>>>>
>>>>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>>>>> relatively soft half-hour-plus.
>>>>>>>>>
>>>>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>>>>
>>>>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>>>>
>>>>>>>> "Nuit ? la Nuit" or perhaps "De la Nuit ? la Nuit" might work better.
>>>>>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>>>>> pentameter structure with two other syllables. You wouldn't want the
>>>>>>>> French laughing at the good ol' USA any more than they already do.
>>>>>>>
>>>>>>>They're too busy laughing at Sarkozy.
>>>>>>>
>>>>>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>>>>> includes a need to distinguish between the voices of the nightingale,
>>>>>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>>>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>>>>>> barnyard noise skillz.
>>>>>>>>
>>>>>>>> My kind of culture.
>>>>>>>
>>>>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>>>>movements.
>>>>>>>
>>>>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>>>>(DG) version as a unit.
>>>>>>>
>>>>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>>>>candidate for being the piece of music best marking the transition from
>>>>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>>>>1900 . . . .
>>>>>>>
>>>>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>>>>second and third movements, which again play most beautifully and
>>>>>>>peacefully as a unit.
>>>>>>>
>>>>>>>Of course, I'm a sucker for nocturnes.
>>>>>>>
>>>>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>>>>segments (try booting up the second and third movements with that!), and
>>>>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>>>>oblige.
>>>>>>>
>>>>>>>My kind of culture!
>>>>>>>
>>>>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>>>>welcome to it--heh.)
>>>>>>
>>>>>> music geek
>>>>>
>>>>>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>>>>>through "classical", mostly symphonic, readin' up on it and working my way
>>>>>around and through various local library collections of often fairly
>>>>>grotty copies of stuff, and came up with some stuff I like very much,
>>>>>such as the following creme de la creme (with my nicknames for some of 'em):
>>>>>
>>>>>Mozart/Symphony 40 ("Mars")
>>>>>Beethoven/Fourth ("Mozart")
>>>>>Brahms/Fourth ("Beethoven")
>>>>>Mahler/Fourth, Fifth, Seventh
>>>>>Schoenberg/Suite for Piano, Trio (string)
>>>>>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>>>>>Shostakovich/Fourth ("Mahler")
>>>>>
>>>>>Versions matter, most definitely-- I don't think the technical skills of
>>>>>the top-level orchestras varies that much, but unsympathetic or even
>>>>>loonie conducting and poor recording can totally trash a piece.
>>>>
>>>> music geek
>>>
>>>You'd like that movement of the _Lyrical Suite_ that starts out with the
>>>ants.
>>>
>>>Also, that _Trio_ of Schoenberg's has The Ultimate And I Do Mean Ultimate
>>>Viola Part in it.
>>>
>>>Woof.
>>
>> i played viola in highschool.
>
>I knew that. That was a subtle attempt at seducing you into giving the
>Second Viennese School a listen. Heh.
>
>(It _is_ TUAIDMUVP, though.)

so, what do i put in the search box of my friendly ptp network?

--
dave hillstrom mhm15x4 zrbj

<This space for rent.>

 

On Wed, 05 Mar 2008 23:06:54 -0500, dave hillstrom wrote:

> On Wed, 05 Mar 2008 20:47:53 -0500, mimus <tinmimus99@hotmail.com>
> wrote:
>
>>On Wed, 05 Mar 2008 20:28:20 -0500, dave hillstrom wrote:
>>
>>> On Tue, 04 Mar 2008 22:01:33 -0500, mimus <tinmimus99@hotmail.com>
>>> wrote:
>>>
>>>>On Tue, 04 Mar 2008 20:47:31 -0500, dave hillstrom wrote:
>>>>
>>>>> On Tue, 04 Mar 2008 13:25:15 -0500, mimus <tinmimus99@hotmail.com>
>>>>> wrote:
>>>>>
>>>>>>On Tue, 04 Mar 2008 12:25:22 -0500, dave hillstrom wrote:
>>>>>>
>>>>>>> On Mon, 03 Mar 2008 18:25:23 -0500, mimus <tinmimus99@hotmail.com>
>>>>>>> wrote:
>>>>>>>
>>>>>>>>On Mon, 03 Mar 2008 17:22:32 -0500, mixed nuts wrote:
>>>>>>>>
>>>>>>>>> mimus wrote:
>>>>>>>>>
>>>>>>>>>> It's sometimes been said that all industrial music is written in the
>>>>>>>>>> same key (putatively A minor), and while in spite of Din Fiv's album
>>>>>>>>>> _Escape to Reality_ I don't really believe that's true, I do find myself
>>>>>>>>>> wondering with regard to "classical" (symphonic) music whether you can put
>>>>>>>>>> any three or four Debussy movements together and make yourself a nice new
>>>>>>>>>> piece.
>>>>>>>>>>
>>>>>>>>>> In that spirit, I've discovered a luvverly new Debussy symphony, which
>>>>>>>>>> we'll call _Nuit a Nuit_ (_Night to Night_), if that's grammatical, and
>>>>>>>>>> it's French or close to French anyway so who cares, consisting of "Nuages"
>>>>>>>>>> ("Clouds") from his _Nocturnes_ (_Nocturnes_); "De l'aube a midi sur la
>>>>>>>>>> mer" ("From dawn to noon on the sea") from _La Mer_ (_The Sea_); "Sirenes"
>>>>>>>>>> ("Sirens"-- the kind that lie around and sing to sailors hoping to cause a
>>>>>>>>>> shipwreck so they can eat, later applied to ladies of expedience and also
>>>>>>>>>> loud, usually emergency signal-horns), also from _Nocturnes_; and finally
>>>>>>>>>> "Nuages" again, all making for a very nice and quite absorbing if
>>>>>>>>>> relatively soft half-hour-plus.
>>>>>>>>>>
>>>>>>>>>> Well, that's our culture for the year. Hope you enjoyed it.
>>>>>>>>>>
>>>>>>>>>> _Ol' red wire._ (Ohio River Valley French)
>>>>>>>>>
>>>>>>>>> "Nuit la Nuit" or perhaps "De la Nuit la Nuit" might work better.
>>>>>>>>> Nuit a Nuit just doesn't feel right unless you need it to fit an iambic
>>>>>>>>> pentameter structure with two other syllables. You wouldn't want the
>>>>>>>>> French laughing at the good ol' USA any more than they already do.
>>>>>>>>
>>>>>>>>They're too busy laughing at Sarkozy.
>>>>>>>>
>>>>>>>>> Theres a Mahler thing called ?Lob des hohen Verstandes? which
>>>>>>>>> includes a need to distinguish between the voices of the nightingale,
>>>>>>>>> cuckoo and donkey. Some interpretations are very convincing - that is
>>>>>>>>> the mezzo soprano has a sense of humor and musically appropriate
>>>>>>>>> barnyard noise skillz.
>>>>>>>>>
>>>>>>>>> My kind of culture.
>>>>>>>>
>>>>>>>>He borrowed the theme from that song-- which is about a singing contest
>>>>>>>>between a nightingale and a cuckoo judged by a jackass, which is to say,
>>>>>>>>it's a song about artistic criticism-- to use as a little intro to the
>>>>>>>>fifth movement of his Fifth, the most human and warm of all his symphonic
>>>>>>>>movements.
>>>>>>>>
>>>>>>>>I play the third and fifth movements of the Bernstein/Vienna ("Wiener")
>>>>>>>>(DG) version as a unit.
>>>>>>>>
>>>>>>>>That third movement, now, the Scherzo-- look out! its structure is
>>>>>>>>gorgeous, based on a handful of themes and a sequence of episodes each of
>>>>>>>>which uses a subset of those themes, and as such makes a wonderful
>>>>>>>>candidate for being the piece of music best marking the transition from
>>>>>>>>Late Romantic to Early Twentieth Century music, and was even premiered in
>>>>>>>>1900 . . . .
>>>>>>>>
>>>>>>>>His Seventh though (Levine/Chicago) (RCA) is The One, especially the
>>>>>>>>second and third movements, which again play most beautifully and
>>>>>>>>peacefully as a unit.
>>>>>>>>
>>>>>>>>Of course, I'm a sucker for nocturnes.
>>>>>>>>
>>>>>>>>Bernstein tried at least one version of the Seventh with the New York but
>>>>>>>>it was a total disaster (I have it, unfortunately), not helped by
>>>>>>>>(presumably) him insisting that the CD tracking be keyed to the rehearsal
>>>>>>>>segments (try booting up the second and third movements with that!), and
>>>>>>>>still worse some liner notes giving his "post-Marxist analysis" of
>>>>>>>>(sociobabbling hatchet-job on) the symphony that led me for one to believe
>>>>>>>>he needed his oh-so-superior ass kicked (like he ever wrote anything as
>>>>>>>>beautiful as Mahler, still less _the Seventh_), and to be willing to
>>>>>>>>oblige.
>>>>>>>>
>>>>>>>>My kind of culture!
>>>>>>>>
>>>>>>>>(If this was a troll based on that rasfw thread of a few months ago,
>>>>>>>>welcome to it--heh.)
>>>>>>>
>>>>>>> music geek
>>>>>>
>>>>>>Eh, well, after prog-rock died, back 'round 1980 <dodder>, I took a run
>>>>>>through "classical", mostly symphonic, readin' up on it and working my way
>>>>>>around and through various local library collections of often fairly
>>>>>>grotty copies of stuff, and came up with some stuff I like very much,
>>>>>>such as the following creme de la creme (with my nicknames for some of 'em):
>>>>>>
>>>>>>Mozart/Symphony 40 ("Mars")
>>>>>>Beethoven/Fourth ("Mozart")
>>>>>>Brahms/Fourth ("Beethoven")
>>>>>>Mahler/Fourth, Fifth, Seventh
>>>>>>Schoenberg/Suite for Piano, Trio (string)
>>>>>>Berg/Lyrical Suite, Lulu Suite ("Hold onto yer hat")
>>>>>>Shostakovich/Fourth ("Mahler")
>>>>>>
>>>>>>Versions matter, most definitely-- I don't think the technical skills of
>>>>>>the top-level orchestras varies that much, but unsympathetic or even
>>>>>>loonie conducting and poor recording can totally trash a piece.
>>>>>
>>>>> music geek
>>>>
>>>>You'd like that movement of the _Lyrical Suite_ that starts out with the
>>>>ants.
>>>>
>>>>Also, that _Trio_ of Schoenberg's has The Ultimate And I Do Mean Ultimate
>>>>Viola Part in it.
>>>>
>>>>Woof.
>>>
>>> i played viola in highschool.
>>
>>I knew that. That was a subtle attempt at seducing you into giving the
>>Second Viennese School a listen. Heh.
>>
>>(It _is_ TUAIDMUVP, though.)
>
> so, what do i put in the search box of my friendly ptp network?

Schoenberg, String Trio, Opus 45.

It's in part a memorial piece written by Schoenberg in memory of his
then-recent heart-attack.

(And it's _Lyric_ Suite, for Berg. Bad mimus! bad! bad! bad!)

((I stand by the ants.))

--
tinmimus99@hotmail.com

smeeter 11 or maybe 12

mp 10

mhm 29x13

_Thurb_, tinkle, boing, fump, twang. Music, by
heaven. Music.

< _The Thurb Revolution_