> Sure these aren't pristine studio recordings, but, for me at least,
> the opportunity to hear a range of musicians responding to Frith's
> open-ended structures in a variety of situations, allows me to more
> fully hear the possibilities of these indeterminate works.
>
> In other words, what it probably boils down to is this: If your goal
> in hearing recordings of open structure pieces is to get to hear some
> of the range the open-structure makes available to players, this is a
> pretty good document of enough performances to get some sense of
> that. If your goal in hearing recordings of open structure pieces is
> to hear some kind of definitive performance made in an optimal
> recording environment, this isn't that.
>
Hi Herb,
What you point out is all true, thanks also for telling more about the
musical content than I did. But don't you agree with me that SBGWW with a
little more money and time (and I don't mean the 1986-96 between brackets)
the cd's just could have been done so much better, what we now have are
just *tapes*.
I didn't mean to say anything should be 'definitive' or 'ultimate', just a
little labour of love would have been OK for my good money. The booklet, as
I said before, is beautiful, so why shouldn't the music sound OK as well?
Even if it is open ended...
And, interestingly, you point out to the documentation of the different
versions: I really doubt whether full versions were included (at least in
the Groningen case). I am moving again, I have packed all my cd's and tapes,
but I happen to have a live radio broadcast from the Groningen show, which
always seemed to have been much longer than the later release on cd.
Regards, Remco
- -
------------------------------
Date: Tue, 26 Feb 2002 08:30:19 +0000
From: Richard Gardner <richard.gardner@colourtone.co.uk>
Subject: Re:Flaming Creatures, Jeux des dames Cruelles
> is "Jeux des Dames Cruelles" a real movie and if so, is there a
> video or DVD of it?
As far as I know Jeux des Dames Cruelles is just a book collecting early
erotic s/m photographs. It was around in the UK published by the German
company Tashen. It cropped up in all the remaindered bookshops and was very
cheap. I think it was based on a set of pictures from some renowned
collector.
Richard Gardner
- -
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Date: Tue, 26 Feb 2002 12:00:44 +0100
From: duncan youngerman <y-man@wanadoo.fr>
Subject: Re: Broadway ("Sweeny Tod")
I generally can't stand the Broadway esthetic, but I did see, in the early
80's, a really good Broadway musical: "Sweeny Tod", words and music by
Stephen Sonheim, I think, about a 19th cent=2E barber who cuts all his
customers' throats one by one=2E Remarquable Kurt Weil type music with
orchestration worthy of Strawinsky, macabre black humor, and a lot of
energy=2E Zero shmaltz, truly great modern music=2E I was impressed=2E
DY=2E
Zachary Steiner a =E9crit :
> What do you zornlisters think of Broadway and musical theatre in
> general? I just had the displeasure of attending a chorus concert in
> which they had some guest singers that specialized in ghastly belting
> (they quite ruined "Summertime" for me)=2E It's not that I don't enjoy
> belting (love it when Patton does it), but in show tunes it doesn't do
> it for me=2E I know lots of people who enjoy show tunes quite a bit and I
> have no problem with those people, but I never quite understood them
> myself=2E It's not a lack of experience, I've listened to countless
> recordings and have seen a couple on stage (the least favorite being Les
> Miserable)=2E If some could explain what I'm missing, I would be
> appreciative, but if I'm not missing anything that's alright too=2E
>
> Zach
>
> -
- -
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Date: Tue, 26 Feb 2002 06:14:26 EST
From: JazzDr@aol.com
Subject: Re: Broadway
- -
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Date: Tue, 26 Feb 2002 06:17:56 EST
From: JazzDr@aol.com
Subject: Re: Broadway
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Coming out of lurk mode for this oneThere is good broadway and bad. Nothing
beats the experience of seeing a show live! But the good surpasses the bad.
Les Mis in it's first years was a surprise to me. Rent's soundtrack took
on a different life after seeing the show. Ragtime the same. Mamma Mia with
Abba's music a guilty pleasure!
Long live broadway!!!
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Tahoma" LANG="0"> Coming out of lurk mode for this oneThere is good broadway and bad. Nothing beats the experience of seeing a show live! But the good surpasses the bad. Les Mis in it's first years was a surprise to me. Rent's soundtrack took on a different life after seeing the show. Ragtime the same. Mamma Mia with Abba's music a guilty pleasure!<BR>
Long live broadway!!!</FONT></HTML>
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Date: Tue, 26 Feb 2002 06:33:03 -0600
From: Herb Levy <herb@eskimo.com>
Subject: New Music for Multiple Instruments in RealAudio, Mappings for the week beginning February 26, 2002
Hi y'all,
This week on Mappings <http://www.antennaradio.com/avant/mappings/>,
you'll hear music for multiple glockenspiels, flutes, hurdy gurdies,
Andean folk instruments, and more, by composers Chris Brown, Joseph
Celli, Annie Gosfield, Jose Maceda, Phill Niblock, Salvatore
Sciarrino, Lois V Vierk, Samuel Vriezen.
The show went online Tuesday morning around 6:00 AM (-0600 GMT) and
will remain online at the above URL for about a week. Last week's
program (featuring music for early instruments by composers Louis
Andriessen, Luciano Berio, Allison Cameron, Evelyn Ficarra, Peter
Hannan, Mauricio Kagel, and Gyorgy Ligeti) is still available in the
Mappings archive
<http://www.antennaradio.com/avant/mappings/index1.htm>, where you
can also find play lists for the program since it began in March 1998.
With luck this week Antenna Radio REALLY will be moving to a new
server, with a slightly different hierarchy for the Web site. The
URLs above should work for the next week or two though.
