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Doublereed Archive - Posting 000021.txt from 2006/10
From: Donald MacCourt <maccourt@-----.net>
Subj: Re: [DR-L] Music Since 1950 / 3 New Fugues in Doublereed Trio
Date: Tue, 03 Oct 2006 07:43:38 -0400
I don't know who you are with your rather aggressive self promotion, but
check out the Hindemith Septet for a rather classy tripple fugue. Of course
he didn't claim to have invented it.
----- Original Message -----
From: "Bear Woodson" <bearwoodson@-----.net>
To: "DoubleReed List" <doublereed@-----.org>
Sent: Monday, October 02, 2006 1:58 PM
Subject: [DR-L] Music Since 1950 / 3 New Fugues in Doublereed Trio
> Date: Sat, 30 Sep 2006 22:53:02 -0700
> To: <doublereed@-----.org>
> From: herb fawcett <herbgosia@-----.net>
> Subject: Re: [DR-L] Music Since 1950 Poll
> Message-ID: <C144A5CE.16667%herbgosia@-----.net>
>
> Don't be snide.
What is this supposed to mean?
My point is that we live in a time when News from
around the world is known to millions in a matter of
seconds, and yet:
1) Precious few people, even Classically Trained
Professional Musician, can tell the difference between
Harmony Invented BEFORE or AFTER 1900, the
Change Over to the New Harmonic Languages of the
20th Century. (Harmonic Languages tend to run about
300 years at a time.) Most of the Public is still listening
to harmony from the Previous Harmonic Era, the
"Tonal Era" [1600-1900] of Harmony, in their recently
written Popular Music, but they THINK the harmony
is NEW!
2) Most of the "University Composer Music" from
1940 to 1990, was Grindingly Dissonant "Atonal 12-
Tone", or "Abstract Impressionism", or "Aleatoric"
("Totally Random Music", to "literally sprinkle ink on
the page an play it"), etc. Most of the Public never even
knew this was happening. Are you saying that you
KNEW about the mountains of this kind of music and
ACTUALLY ENJOY it?!? (You'd be the first one in
the 35 years, since I've began studying Music! Even the
composers that I knew who wrote that kind of junk,
wouldn't sing it to themselves in their shower! I made
it a point to ask them that.)
3) Trying to find out about the Good "Beethovens" of
Our Time, and their Music, is still not easy; but at least
many of them are Women Composers!
These facts SHOULD be Common Knowledge, but
finding people who know them well, is RARE, even on
This List!
These are FACTS. They are sad, but they ARE facts.
I see nothing good, nor snide, about stating facts.
===================================
As for this other comment:
> 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.
Oops, no. I think you misunderstand. I did NOT
"find", recognize, discover, nor "identify" "ten forms
of fugues". You make it sound as if I found a New
Way to EXPLAIN Counterpoint in the music by
composers of the past. Anyone could learn how to
do that. That's a mediocre goal to attain.
Almost no one in history can be proven to have
INVENTED an Entirely NEW Kind of Fugue. When
Bartók INVENTED ONE Entirely NEW Kind of
Fugue in 1936, he was declared to be a genius. As of
the Summer of 2005, I've invented NINE Entirely
NEW Kinds of Fugues. (A growing list of experts
from around the world have been confirming these
facts.)
===================================
Recently I've invented a Tenth Category of Fugue,
but I plan to use it in 2 different orchestral works that
will take months to finish writing, and then will take
more months for them to be Copyrighted. I don't
divulge much about works that haven't been Copy-
righted yet.
===================================
However I can say that Three of my Newly Invented
Fugues occur in my Double Reed Trio:
"Trio No. 1 for Oboe, English Horn and Bassoon"
(Dec. 2003, 5 mvts., 19 min.)
I Introduction & Vivace 4' 25"
II Conversation: Adagio 3' 50"
III Scherzo - Arabesque - Scherzo 4' 35"
IV Triple Fugue: Largo 3' 45"
(This is the First time in all known
history, when a Triple Fugue harmonizes
in Chromatic Modal Harmony, when the
Three Fugue Subjects are turned in
Inversion, Retrograde and Retrograde-
Inversion!)
V Moto Perpetuo: Allegro 2' 30"
Total Time: 19' 05"
We had originally planned to do a recital at
Northwestern University in Chicago by an Oboe
Student there. He DID make a wonderful
recording of a different Trio of mine, (for Flute,
Oboe and Bb Clarinet) on May 18, 2004, but when
it came to doing this Doublereed Trio, he vanished.
My Doublereed Trio remains unread, unperformed
and unrecorded.
We had hoped to give a recital with other of my
Chamber Works, to be their World Premieres and
also introduce Several Newly Invented Kinds of
Fugues at the same time. It would be the FIRST
and ONLY TIME in History, that something of this
rarity would happen, but now it is all on hold. Does
anyone here have any suggestions?
Bear Woodson
Composer in Tucson, Arizona, USA
The Only Composer in history KNOWN to
have Invented TEN New Categories of Fugues.
This website shows a picture of my face, lists
some of my works and the first Nine of my
Categories of Newly Invented Fugues:
http://69.17.4.94/comp/woodson.html
http://www.fluteconnection.net/
Then click on "Contemporary Composers",
then click on "Bear Woodson".
These are two listings for the Dissertation that
was written entirely about 4 of my Horn Works:
http://catalog.lib.asu.edu/search/a?SEARCH=McGale
http://www.music.indiana.edu/cgi-bin/chmtl/isearchddm?DATABASE=ddm&TERM_1=70
brFieK
This is the website and E-Mail for an International
Fugue Society based in Italy, that has been looking
at my Newly Invented Fugue Scores since 2005:
Kunst der Fuge,
http://www.kunstderfuge.com/
OnClassical, http://www.onclassical.com/
"Signor Alessandro Simonetto"
<alessandro.simonetto@-----.com>
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