New Debussy Symphony Discovered

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 thought double bass.

--
nuts

 

"Tim Weaver" <tmw99999@gmail.com> wrote in message
news:Xns9A584866AEF970Z0thecheeseclub0Z0@comcast.dca.giganews.com...
> 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
> +++

Ah, the classics.

Smee

> --
> 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.