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Doublereed Archive - Posting 000001.txt from 2006/10

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Music Since 1950 Poll
Date: Sun, 01 Oct 2006 01:53:58 -0400

Don't be snide.

There is a lot of new music that is extremely interesting to play and some
that is interesting to hear. The same is true of our beloved "Classical"
period. Surely there are many among us who have sighed when they learned
that they were to perform yet another "newly insightful" rendition of
Beethoven's fifth. I love to hear new music, and the stranger, the better,
if it makes any sense at all. True, it would be a gas if the audience were
as open to new stuff as the players are. It doesn't pay our bills nor yours,
and I'm sorry about it, but don't berate me/us for programming known
"winners".

I am sure the audience is having an attack of ecstasy upon hearing that you
have found and identified yet another ten forms of fugue. More important
would be to hear that they (the audience) could distinguish them from all
the others, or even from each other, or if it matters at all.

Herb

On 9/30/06 6:49 PM, "Bear Woodson" <bearwoodson@-----.net> wrote:

> Hello, Everyone.
>
> The questions about What you are playing recently
> inspires questions in me, because I notice that most
> are in Traditional Tonality or close to it (certain works
> by Shostakovich, etc.).
>
> 1) Have you performed any music lately that was
> composed AFTER 1950?
>
> 2) Did it use Traditional Modal (Renaissance, Enya,
> John Tesh, Yanni, etc.) Harmony or Traditional
> ("Key Signature") Tonality or was it based mostly or
> totally on Post-1900 Harmonies?
>
> 3) Did you LIKE that music?
>
> Let me be the first to tell you that I DO NOT
> ENJOY most Post-1950's Modern Classical Music!
> Too much of it either uses "Paint-By-Numbers"
> Compositional Usage of "Traditional Tonality" OR
> "Non-Functional Harmony" from "Atonal 12-Tone"
> compositional methods. (In other words, the composer
> had little or NO "Talent" [that magic word again], and
> even less Personality in their music.)
>
> I DO, however like a number of works by Ellen
> Taaffe Zwilich, John Corigliano, Shulamit Ran, etc.,
> but only when they use Real Melodies, Functional
> Harmony, you know, music that has contains Music
> and has a Real Personality! Such things are scarce
> these days, and most Audiences and Performers are
> living in the Harmonic Past of harmonies invented
> in the 1500's to 1900, but rarely have any awareness
> of music composed from concepts invented after
> 1900.
>
> I am VERY curious to know what experience
> Double Reed Players have with New Music. I have
> long since been heartbroken to know, that too many
> Low Brass Players regard John Philip Sousa as
> cutting edge Avant Garde Harmony!
>
>
> Bear Woodson
> Composer in Tucson, Arizona, USA
>
> The Only Composer in history KNOWN to
> have Invented TEN New Categories of Fugues.
>
>
>
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