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  Golijov signs to Boosey's  CT News at 11:53 on 28 July 2009
 

Boosey & Hawkes has signed Osvaldo Golijov to its roster of composers. By exclusive agreement, Boosey & Hawkes now represents Golijov's existing catalog as well as all future works.

http://www.newmusicbox.org/article.nmbx?id=6076

  Re: Golijov signs to Boosey`s/how about better facilities for us?  Misuc at 00:22 on 30 July 2009
 

to the editor

I don't know who Golijov is. If you find him interesting or worth talking about in some way, please feel free to tell us. But, no offence, please stop sending in these puffs for Boosey & Hawkes and other commercial interests. Otherwise this forum's independence looks in doubt and its role as a vehicle of, by and for composers is threatened.

There have been requests for this forum to offer a facility for musical notation and/or embedded audio [mp3]. This would enable us to talk in more depth and more practically about the issues that are dear to us: to discuss work in progress, raise problems and suggest possible solutions etc.

Is this very difficult to arrange from a technical point of view? I note that there is a growing number of members and would imagine that funds for such a project would not be a problem.




  Re: Golijov signs to Boosey`s  scott_good at 20:10 on 30 July 2009
 

Well, I don't mind the information tidbits that come through - sometimes they spark conversations. And, Golijov is pretty famous (considering this field and all!).

But, more importantly, I would like to second that it would be really great if we could upload pdf's and that sort of thing - then it would be much easier to have technical composition discussions - that would be grand!

  Re: Golijov signs to Boosey`s  Misuc at 09:39 on 31 July 2009
 

Well, there are composers and composers, like there are writers [e.g. James Joyce, Shakespeare etc.] and writers [e.g. copywriters].

It seems that Golijov belongs to one group, widely represented in CT, while my mindset is permanently fixated on the other. I am always hoping for and actually expecting one sort and I always get the other. Hence my grumpiness. (Well, that's one of the reasons)

When I saw his interesting name I could not help thinking of the other sort of composers, the ones who are interesting people, the ones who are trying to say something. Something about his name made me think of, say, Yefim Golyshev

This painter/composer moved from Russia to Berlin exactly 100 years ago. A century later we have still not caught up with the cultural, artistic, scientific and political explosions which took place in that era. Some of us don't even wish to know. Golyshev became involved in these movements, Dada, the Bauhaus etc. Most of his music has been lost/destroyed. One surviving piece is a string trio which seems to have been written as early as 1914. If its use of 12-tone 'complexes' - and even serially organised durations would make it perhaps the first serial composition ever.

There are many more composers of this period who wanted to say something with their music: something about music and about life art and society. Much of their music was destroyed by the Nazis. The 'experimental' music of the period of the first decade or so of the Russian revolution was locked up in cellars by the Stalin regime and later sold off for next to nothing to Boosey & Hawkes and Kalmus/Universal where it rotted, unknown, unpublished and unperformed for several generations.

That is one reason why I would like to see more discussion of real music and less corporate chit-chat

  Re: Golijov signs to Boosey`s  piargno at 16:55 on 03 August 2009
 

Misuc, you make a valid point that there are atrocities in music history that can not be corrected. There's some piece by a composer whose name I'm blanking on where the middle movement is complete silence (all rests), and it apparently was composed 40 or 50 years before 4'33". Yet the piece is practically unknown, much like the string trio of Golishev. And Blind Tom - a blind musical savant who not only composed but also performed works by Liszt and other masters that he learned by ear - was a slave who was considered property. He has a piano piece that mimics a train that calls for rustling chains and whistling while playing. He could have said a lot about music if he wasn't used as a sideshow display by his slave master, performing for audiences who were - for the most part - unappreciative of his talents.

Despite all these atrocities, there are people on this forum that do want to see "corporate chit-chat". Is it possible for you to just read the heading, and ignore the post? I'm not sure about the others on this forum, but it seems as though you are E Pluribus Unum on this one. And besides, the existence of these one line posts doesn't govern the exclusion of other more interesting, in depth posts.

PS - I'm highly interested in finding out more about Yefim Golishev.

  Re: Golijov signs to Boosey`s  Misuc at 20:15 on 03 August 2009
 

OK.

But I only said MORE of the one and LESS of the rest. And I only said "I would like to see...." not "we must have only....". I am not for banning things.

I may have given the wrong impression when I gave Shakespeare and Joyce as the sole examples of 'proper' writers. I could have mentioned P G Wodehouse or - one of my and Scott's favourites: Kurt Vonnegut.

My own nickname owes something to the spirit of Vonnegut, who (like Joyce) was punctilious in refusing the airs of the literary WRITER for the sake of communicating with the reader on equal terms.

I find your 'lost history' fascinating. I would not quite say we should hear more of this blank composer's silent works, but who and what gets taken on as immortal classic and masterwork is very arbitrary.

And I am interested in masterpieces. Where are Monteverdi's 40 (?) lost operas? Who listens to Frescobaldi? Who plays those Jenkins fantasy-pieces? (By the way I think I've worked out some of why that piece of his we talked about was so good...)

We could go on with this discussion........

  Re: Golijov signs to Boosey`s  piargno at 06:24 on 04 August 2009
 

So sorry! In the first post you wrote "please stop sending in ..." But then you changed it later.

I want to hear those pieces thrown away by Bach's wife, who used them to wrap up fish from the market. :-D

  Re: Golijov signs to Boosey`s  Misuc at 11:40 on 04 August 2009
 

...not to mention Schubert's 'Great C Major' symphony, which his brother and Schumann together discovered at the local bakery used to wrap bread. (Those were the days! - when you could get great freshly baked bread and symphonies).

Operas and other expensive-to-produce music whose scores were not produced for outside consumption have always been the easiest to lose. The major part of Baroque music consisted of operas - most of which were never published and were lost or burned: this includes the first English and German operas and, most
interesting, 17th century Venetian operas with complex Shakespearian fast-moving plots with no sentimentality mixing comedy, satire and tragedy...

Then there were all the grand multichoral works of the French revolution....(Can anybody remember the name of the composer of that time who wrote a triple opera performed on three stages simultaneously!)

Nearer our own time, there are literally thousands of operas which were composed and performed in state theatres in Germany during the last decades, and which unlike the ones we generally get don't have silly unlikely stories, but texts of real interest taken from real writers - the wonderful Tancred Dorst and also, while we're on the subject, Kurt Vonnegut
When will we ever hear these? Or produce more of their kind?

There are certain economic and cultural conditions in which talent and genius can thrive and develop - the Italian Renaissance and early baroque, Britain just slightly later, the French around 1700, German principalities from 1700 on, Russia/Germany around 1920 etc. -
These periods are like the forces of nature, fruitful, wasteful, spendthrift. Few of the potentialities of the music of those decisive periods can be followed through in more sober periods, understood or even heard.

The music of some periods is ignored because the societies which produced have gone under/grown out of fashion. I don't reckon much of what I have heard of the music that came out of the USSR during its last years, but East Germany did not suffer from the imposed constipation of other Stalinist regimes, and I have heard one or two really imaginative works from a culturally rich - though politically impaired - period. Its suppression is, at present, even more thorough than the earlier suppression of Jewish, rebellious and Czech music in Thereienstadt.

Here I would like to make a plea for the greatest modern work of music theatre I have come across, Ligeti's 'Le Grand Macabre'

If you don't know it I can't describe it here, but let's just say three things: it is truly on a grand scale: it is about life and death (Death comes with his motley band through from the back of the theatre to challenge the kingdom and its corrupt governors): it is set in the mythical kingdom of 'Breughel Land'.

It came to Britain once, but the production did not have the faintest idea of what it was about: they completely missed the point and the poetry: they set it on a dingy Motorway: the lovers 'Spermando' and 'Clitoria' who are meant to be on stage throughout, making love in a grave yard, were made into a pair of lesbians (for added shock value or what?)

{The extant version of the score and the recordings have changed their names to the more acceptable, but less relevant [to the theme of the opera: how life continues, like it or not] Amando and Amanda

When the Royal Opera House was reopened after renovations recently, the grand opening was going to be a revival or I think a new production. It was abandoned without public apology or explanation.

This is a well-known work by a relatively popular and often performed composer. But even here, while the score still exists, few can afford to look at it. Nobody can hear/see it as it was intended. The vast majority of the rest of the repertoire of modern opera is virtually unavailable.

  Re: Golijov signs to Boosey`s  IanTipping at 22:51 on 04 August 2009
 

I've always thought Ligeti's music more interesting and varied than the majority of his Avant-Garde conemporaries, with the genuine humour in his work being (for me) one of it's most appealling qualities. From what I've heard 'Le Grand Macabre' is no exception, although I have only heard fairly extended excerpts rather than the whole opera. However, it's being performed by ENO this season in a new production, so with any luck I'll get the opportunity to experience it first hand. Details are here, if anyone else is interested:-

http://www.eno.org/whats-on/whats-on.php?id=1374


  Re: Golijov signs to Boosey`s  Misuc at 00:29 on 05 August 2009
 

That's the best news this millennium! A chance to get it right!

<Added>

In fact, that's the sort of info tidbitwe could do with more of

  Re: Golijov signs to Boosey`s  MartinY at 10:03 on 05 August 2009
 

This has generated lots of interesting discussion. Last year there was a This Week's Composer on Golijov, which repeated the puff that he was the saviour of contemporary music, (that sounds familiar). I do not think so somehow. I rather enjoyed his string quartet based on Couperin's Lamentations but kept thinking the best bits are written by a Frenchman with a wig and a quill pen, so maybe I should get a recording of that alone and / or buy a wig and a quill pen.

Missing music: I play lots of Frescobaldi, the stuff that Bernard Thomas published the parts for and some other which has been computer typeset but is unpublished and it is marvellous but Misuc caused me to remember there is a lot of vocal music by him which we never hear or sing, (there is vocal music by Schmeltzer too which only appears once a blue moon).

I have been reading the book I Was Vermeer about van Meergeren's solution to the problem of the missing middle period religous Vermeers. The book is absolutely hysterical, especially the way van Meergeren got his authentication by playing on the vanity of the Dutch art establishment, (and by his excellent technique as well of course).

Forging music is much rarer than forging art, possibly because there is no money in it unless you can forge a manuscript which with modern analytical techniques would be impossible to pass off(??). Last time someone forged a piece by Haydn, (about 5 years ago), it got a lot of initial authentication by experts but did not stand up to serious scrutiny.

Maybe there are more dubious pieces around than we think. Musica Antiquae Cologne once had to withdraw an advertised trio sonata from a concert because it had been descovered to be a 20th century piece. Of the 2500 landscapes Corot painted seven and a half thousand are in the United States.

<Added>

I seem to have added an r to van Meegeren's name. My mental memory of Dutch names is clearly not up to the job. (I have witnessed degree ceremonies where are large number of non-English names were mispronounced by the orator so it is something we in Britain need to look at.) The infamous BBC no longer get it right now, they must have cut back on their language experts to retain more money for expenses......