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Messages - j-rmit

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21st Century / Re: Górecki Symphony no.4
« on: April 16, 2014, 02:07:48 pm »
And is that really a John Adams quote in the finale too, or just an accidental likeness? :o

I think an accidental likeness - it comes down to the violin figuration rhythm and one particular chord change, doesn't it? It sounds Nixon-y, but no bit I recognise specifically.

I'm afraid I'm not really feeling this. I didn't go to the premiere because, well, I'm not sure, but very late Górecki doesn't generally do much for me (and I have a pretty high tolerance threshold for a lot of the rest of his work). This I can imagine having more of an impact in the hall, but it's just too bitty for me.

The Coffee Bar / Re: Des res for sale
« on: April 03, 2014, 11:55:04 am »
Just did the sums. That's not much more than what some Victorian terraces go for round here these days (Charlton, Southeast London).

Radio / Re: Roger Wright to step down
« on: March 25, 2014, 01:53:23 pm »
My initial impression on reading that Tony Hall announcement was "lot of headline partnerships, not a lot of grassroots". Hope there's more than meets the eye.

Meanwhile, Norman Lebrecht has put forward a list of possible R3 candidates:

Edit: Oops, sorry Alistair - I missed that you'd already posted that link ...

Radio / Re: Roger Wright to step down
« on: March 25, 2014, 09:18:02 am »
Gillian Moore or Jude Kelly would be good bets I reckon.

Radio / Re: Roger Wright to step down
« on: March 24, 2014, 01:18:56 pm »
Any bets on who's likely to follow?

Radio / Re: Roots, R3 2200 today
« on: March 24, 2014, 12:31:48 pm »
Picture is Jessica Raine. Perhaps during Beatie's visit to London? (Doesn't look much like a Norfolk farmstead, certainly!)

The Concert Hall / Re: Crrrritic!
« on: February 25, 2014, 12:46:29 pm »
Plenty of awfulness in this latest from Hewett (I think he may have exhausted his thesaurus for descriptions of Harry Partch and his music: 'oddball', 'weird', 'strange', 'curious' ...), but I wanted to post just because of this oddity:

This was American sound artist Ellen Fullman, performing her own Long String Instrument. The “piece” she performed in near-darkness lasted about 40 minutes, or possibly longer (one loses track of time in such things)

Ignoring the patronising scare quotes around 'piece' (in what sense is it not?), I'm curious as to how Hewett normally measures time's passing. Does he not have access to a watch or clock? Is he usually counting '1 Mississippi, 2 Mississippi' in his head, except when a piece of music proves too distracting?

Theatre / Re: Not I, Footfalls, Rockaby - Royal Court Theatre, London
« on: February 17, 2014, 11:41:28 am »
It's finished at the Duchess unless there's an extension that I don't know about.

Ah, didn't realise I was catching it so late in the run.

I also found the text - was it still on sale at £3 instead of a programme as is the Royal Court's practice? - filled in some gaps.

I didn't see it, but didn't look especially hard either as we have the complete plays at home.

In Rockaby I heard what I thought was the word 'Ma' in a thick Irish accent repeated many times.  I suppose the unseen 'mother' character in the previous piece (Footfalls) might have something to do with that.  On reading the text I found the word was 'More'.

I had a similar thing, mishearing the beginning of Footfalls as 'Murder', rather than 'Mother'. It seemed odd at the time, but even when she repeats the word I couldn't hear it the other way.

Theatre / Re: Not I, Footfalls, Rockaby - Royal Court Theatre, London
« on: February 17, 2014, 10:08:57 am »
Anyone else seen this? I went to see it at the Duchess on Saturday night. Not reading the texts in advance was a mistake, particularly for Not I. So I left slightly exasperated by the experience and definitely disoriented. But there's no doubt that all three imprint something strongly on the mind (although Footfalls I felt was the weak link) that lingers. Reading the texts when I got home locked a lot of that into place.

The staging is unremittingly bleak (lots of grey light, corpse-like make-up, etc), which I don't think is completely fair; there's a thread of tenderness that can get overlooked. Highly recommended though, if you can still get tickets.

Theatre / Re: The Weir - Wyndhams Theatre
« on: February 17, 2014, 09:57:07 am »
Even Valerie’s story, clearly meant to trump the anecdotes of the regulars by its more personal and more tragic nature, loses a lot of its power when you’re sitting in a theatre auditorium rather than, say, hearing it from, say, a friend or acquaintance.

I see what you're saying, but experiences differ. When I went to see this with my partner a couple of weeks ago she was absolutely shattered by it. (And, like you, she knew it well from the page but hadn't seen it before.)

I agree I'm not sure about the 'masterpiece' status; it just doesn't seem quite 'big' enough, although it is wonderfully written and in this production I thought superbly played.

The Coffee Bar / Re: The Questions Room
« on: February 01, 2014, 07:56:35 pm »
Oh, what about Ablinger - Voices and Piano, Piano and Record, etc.?

The Coffee Bar / Re: The Questions Room
« on: February 01, 2014, 07:52:03 pm »
Anyway, my new question was this:

Which composers other than Reich and Feldman have named pieces by simply (or not so simply, depending on your point of view :D ) naming the instruments (and/or, I suppose, musicians) playing in them? (Four Organs, Six Pianos, arguably Music for 18 Musicians is the same kind of thing; and then Violin(/Cello/Flute/Piano) and Orchestra, Piano, Violin, Viola, Cello, arguably String Quartet but that's sort of the complicated one that I'm going to be looking into and that explains why I'm asking the question in the first place ...)

This is proving more unusual than I'd thought. (I didn't realise Reich was such an original  :laughter3:)

Wolff has already been mentioned, but here are a few others of his which aren't quite what you're looking for (or maybe they are), but might complicate things interestingly: For Piano (I and II), For Pianist, Stones.

Among the Wandelweiser lot, the piece that immediately springs to mind is Manfred Werder's ein(e) ausführende(r)

Announcements / Re: Simon Howard
« on: February 01, 2014, 04:39:07 pm »
One image that will stay with me  is when we were leaving the chapel - the white dove perched on the top of the inside gate, sheltering from the rain I suppose. Even when JSC reached up to it, the bird didn't fly away, it just cooed.

I'd forgotten that; yes, a fitting moment that could only have been improved if it had been a squirrel...

Announcements / Re: Simon Howard
« on: February 01, 2014, 08:09:23 am »
Simon's funeral took place yesterday at Mortlake Crematorium, a couple of bridges down the river from Fulham FC. A select group of us were there to say farewell. The ceremony was led by a humanist celebrant, Jim, who did a fine job of capturing the life of someone whom none of us completely knew. As Mort said herself in her tribute, Simon was a jigsaw to which each of us had different pieces.

The music in the ceremony was well chosen and seemed very Simon: Bach, Taverner, the Velvet Underground, the Clash. Don B read the story of Uncle Toby and the fly from Tristram Shandy. Simon's mother came, but in the event found the ceremony itself too difficult to attend.

Usually I find the arrival of the coffin the most terrible and moving moment in any funeral; the signal that that person truly has passed away. Yesterday it seemed even more unreal that this could be Simon, someone mostly known virtually and through words. No one at yesterday's ceremony had ever met him in person, although from our conversation in the pub afterwards we were able to put together a rich picture of sorts.

Thank you again to Mort for organising it all on Simon's behalf. I was very grateful to be there. A day that I will remember for a long time.

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