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This 35 message thread spans 3 pages:  < <   1   2  [3] 
  Re: Violin family instruments  scott_good at 03:29 on 06 May 2008
 

although that other posting is getting riduculous - quite absurd really, bmh makes a good point in that one should take one's own destiny into their own hands. if you want to get you music performed, then make it happen - don't worry about panels - worry about people. connect with performers. if they aren't the next arditti quartet, then compose appropriately so that you have a satisfactory performance - this comes from craft and wisdom. engage with them in meaningful ways - find players who are ready to deal with your various notational styles. after a solid musical education, i have yet to run into any kind of graphic or instructions that are all that difficult to decipher - it sometimes just takes a little extra practice and time, which is not a bad thing, it just means you have to commit to the project (so, a good thing!). if one takes the effort, one will always find others who want to share in making music.

my way in music has been to engage with other musicians in my community - to try and create meaningful art with them, and thus strengthen the social fabric. it is a wonderful way to approach art making, and i have made many friends in doing so (and also introduced many people who in turn develop their own projects). as my experiences grow in number, so does the breadth of collaborators (other cities - other countries). but the idea is community in spirit, no matter how the borders are arranged geographically.

(note: i am not convinced a forum such as this is a place to truly build meaning engagements to build art - it is too impersonal - only to perhaps meet people, and take the first steps. this is a place to bounce ideas around, and share experiences, anecdotes etc).

scott

  Re: Violin family instruments  Dmitry Badiarov at 03:37 on 06 May 2008
 

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  Re: Violin family instruments  Misuc at 08:32 on 06 May 2008
 

Thank you. But you are directing your advice at a problem which does not exist. I have had quite a few perfomances, many of them in prominent places (the South Bank[Purcell Room) Ronnie Scotts jazz Club, Southwark cathedral etc.and several less prominent ones - community festivals etc. I have worked as a hornplayer, conductor and in music education in three countries . I have never had the slightest problem with players interpreting my notation - at least not so long as there has been sufficient rehearsal time. The players have ben, on occasion, some of the finest virtuosi around.I have also done a lot of community work - having run courses and run workshops and creative projects of all kinds in improvisation, theory, composition etc. for Morley College, at various community centres, Goldsmiths College, Zurich Konservatorium etc. I myself have attended courses at Darmstadt with Cage, Stockhausen, Boulez etc I have run a world music/Klezmer band and worked with jazz and folk musicians etc. with non musicians and children. .My daily job is teaching piano in primary schools and composition for the Camden Music Service. I did not think it necessary to present my qualifications and experience before joining in a forum, but if it tales this to be taken seriously.......

  Re: Violin family instruments  scott_good at 17:44 on 06 May 2008
 

Ok Misuc. I was just reacting to your post that your music does not get past reading panels and although I don't have the direct quote, that you don't have any recordings of your music which you wish to share - it sounds like you should and I wouldn't mind hearing some of it :-)

Please remember that at least from my perspective, the posts are not just personal exchanges - this i would do privately - but something for general reading, so, my post was not just intended as a communication towards your needs, but general needs I find in the world of composers.

Back to the original topic: So, I'm starting to work on a long term project - 4 years at least - that speaks directly to the topic at hand. And I want to share it because I'm so excited I could just pee my pants.

Coming from a few projects this year, I have decided that ideally (not exclusively though) I want to work on projects which are "full evening" events, not just pieces of concerts. What this project entails is the creation of an orchestra - but comprised principally of two large ensembles - baroque orchestra and a gamelan percussion orchestra + singer soloists and some instrumental soloists all from various cultures (I'm still quite flexible with the ensemble - just in the idea stage). But I feel quite strongly that the marriage of gemelan and baroque strings will work wonderfully in sound and sensibility.

The texts would be comprised of a repeating refrain - a short poem of Rumi. I think this will be the one:

Today, like every other day, we wake up empty
and frightened. Don't open the door to the study
and begin reading. Take down a musical instrument.

Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground.

So, this short poem will occur throughout the performance. In between will be setting of texts from which individual writers of various cultures and languages will compose a reaction/tangent inspired from the text.

Any rate, thought I would share the idea.

Scott

  Re: Violin family instruments  Misuc at 21:02 on 06 May 2008
 

As I mentioned in one of my earlier postings, I am captivated by the idea of whole evening musical events too - combining different families of instruments and so on. Maybe we have both caught a rising tide...

I also like the idea [and this could be a stepping stone towards that larger idea] of works around an existing work. I have had the idea of a counter Farewell Symphony which uses and reworks some of Haydn's ideas, and my Arcadian piece might be interspersed with 'real' music - French Baroque, Folk etc. and I have a few other similar ideas.....(If you can accept the idea that there is 'real' music and 'new' or 'invented' music). This approach could perhaps be a valuable influence on concert-life.

Don't you sometimes get the idea that classical concerts are like dog-trials or museum collections - a little bit of this and a little bit of that put together randomly because that's what we happen to have - or that's what we can do. In the old days cinema programmes used to be like that. Nowadays we go to the cinema to hopefully experience something - one thing - that someone is trying to communicate. Sometimes early music programmes have 'themes' but not always, and not always convincing in the sense I was talking about. Composers and promoters - or whoever puts these things together - could usefully work together.......

This 35 message thread spans 3 pages:  < <   1   2  [3]