-
Re: Lesser known composers deserving more recognition
you should try their rendition of the Toccata and Fugue in d-minor 
- not that "strange", but not really that "authentic" hehe
-
-
Banned
-
Re: Lesser known composers deserving more recognition
the correct Langgaard link is of course, http://www.langgaard.dk
-
Banned
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
I recently heard Ives' Unanswered Question performed by the National Symphony Orchestra, and was a little disappointed. While there were some good ideas and cool sounds, it didn't really fit together very well. There were four flutes that played this very, um, flutey part at random places if I remember correctly, and it wasn't the most pleasant to listen to. There was a trumpet playing from outside the room "answering the question" I suppose, but it didn't really fit in with the rest of the piece. I guess these are the effects Ives was going for, but it didn't really appeal to me, though I can understand why others would like it. Will go look at the program notes...
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
pdq bach's version of Beethoven's 5th symphony is great.
I recently heard Ives' Unanswered Question performed by the National Symphony Orchestra. It wasn't exactly my style, but I would be willing to discuss it if anyone is interested, I kept the program notes too.
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
sorry about that double, I didn't realize that the first one had gone through, computer problems
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
sorry about that double, I didn't realize that the first one had gone through, computer problems 
-
Re: Lesser known composers deserving more recognition
Hi Althea,
I can see you've been exposed to "The Unanswered Question"... - it's been a while since I heard it last, but to my recollection it's the trumpet player who's "asking the question" and the wind/flute group who's supposed to be answering (but don't) and the strings represents the "universe" in some way...
I've found a link which explains it a little better:
http://www.missvalleyorchestra.com/h..._question.html
It's all the way down to the bottom of the page (the top being bibliographical notes) - and I've copied the most interesting parts here:
A few of the modernistic devices that Ives is known for include polytonality, polyrhythms, and quarter-tones. Ives was content to allow the printed notes on the page to define an approximation of what the music should be like – some of the impending result could be left to chance. That bothered many performing musicians, who were used to the precision of the printed page.
“In ‘The Unanswered Question,’ for instance, he says in the preface, about the wind parts that go faster and faster, that they should not play absolutely together, but he writes them rhythmically together,” said one European participant in a panel discussing foreign views of Ives’ music. “There seems to be a sort of contradiction between what he wanted and what he actually did…It is going to make things very complicated, to look at the score and then find he’s not playing exactly what’s in it. What are we going to do?…”
Another conceptual device that Ives used was physically separating the instrumental forces performing a given work into asynchronous units. Of course, other composers had employed off-stage performers to simulate sounds as if they were coming from a distance. But not the cacophony of competing forces that Ives envisioned. This relative disunity is a feature of “The Unanswered Question,” in which the questioner (the trumpet), the answerer (the wind section), and the universe (the strings) operate somewhat – though not completely – independently.
Although the composer’s instructions prefacing the score to “The Unanswered Question” are lengthy, they are worth reproducing here (in part) if for no other reason than to tap into the limitless imagination of this gifted American composer.
Charles Ives writes:
The part of the flute quartet may be taken by two flutes, upper staff, oboe and clarinet, lower staff. The trumpet part may be played by an English horn, an oboe or clarinet, if not playing in “The Answers.” The string quartet or string orchestra (con sordini [with mutes]), if possible, should be “off stage”, or away from the trumpet and flutes. ... The strings play ppp [pianissimo – very softly] throughout with no change in tempo. They are to represent “The Silences of the Druids – Who Know, See, and Hear Nothing.” The trumpet intones “The Perennial Question of Existence”, and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the flutes and other human beings, becomes gradually more active, faster, and louder through an animando [more animated] to a con fuoco [with fire]. This part need not be played in the exact time position indicated. It is played in somewhat of an impromptu way; if there be no conductor, one of the flute players may direct their playing. “The Fighting Answerers”, as the time goes on, and after a “secret conference”, seem to realize a futility, and begin to mock “The Question” – the strife is over for the moment. After they disappear, “The Question” is asked for the last time, and “The Silences” are heard beyond in “Undisturbed Solitude.”
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
Another question--is it common in that style of music to be so unspecific? There is a big difference between a trumpet and and English horn afterall, and with the possible absence of a conductor it almost seems as though Ives was not even sure himself how he wanted his piece to sound. Is it becoming more popular to leave the performers this much liberty?
-
Re: Lesser known composers deserving more recognition
I think that the grouping in this piece superseeds the specific requirement of the individual parts... it's not important who is playing the different groupings as it is important to get the "idea" across of "one asking the questions (of the meaning of exsistence)" and one group of "severly clever chaps who refuses to answer, it appears" and the "universe" as such...
I'm not sure what you mean when you refer to "that style of music"... but no, it's not common as such... the before mentioned composer Percy Grainger has made a lot of flexible-scorings of his music which "folds out" in a way like an accordian - being able to be played by almost piano alone and being able to be expanded up to full symphony orchestra... it's a matter of destribution of the music - where the music/composer prior (and still does in most of the cases) prescribes a set instrumentation - where an arranger has to go in and make modifications to make it playable for other ensembles than what it was originally intended...
-
-
Seaman, Mezzoforte
Re: Lesser known composers deserving more recognition
it is the one with bobby corno 
now I guess the instrumentation makes a little more sense, just like how Bach chorales can be played on almost any four instruments, but that's a little different, but oh well.
-
Posting Permissions
- You may not post new threads
- You may not post replies
- You may not post attachments
- You may not edit your posts
-
Forum Rules
LinkBack URL
About LinkBacks
- and with connection to both our countries... he's made some very interesting rendition of Danish folk music...
do play the 'Coronation Marches' written for Pipe organ,by walton.
).his symphonies certainly go much further than Mahler,but his other works do embrace his basic concept of music 'symbolism' and also show the theosophical influence in his life. eccentric (YES) but at least the FULL notes explain his many ideas,and he succeeds in getting his style across. even if a bit hard on the ear at many times
WELL WORTH THE TIME. regards & thanks. Jamie
Reply With Quote