Klarinet Archive - Posting 000106.txt from 2004/12

From: "Fernando Silveira" <fernandounirio@-----.com>
Subj: Re: Re: [kl] Scaramouche
Date: Sun, 5 Dec 2004 20:44:25 -0500

Hi Tony.
I said that because the comparison is awfull.
I have been playing choro for years and know very well that piece from
Milhaud. I can't see those esemblance
----- Original Message -----
From: "Tony Pay" <tony.p@-----.org>
To: <klarinet@-----.org>
Sent: Sunday, December 05, 2004 10:23 PM
Subject: Re: Re: [kl] Scaramouche

> On 6 Dec, "Fernando Silveira" <fernandounirio@-----.com> wrote:
>
>> "For choro lovers, it is interesting to note that the third movement of
>> Scaramouche, "Brazileira", bears a striking resemblance to Pixinguinha's
>> "Ainda Me Recordo", and its opening sounds eerily like the tango
>> "Brejeiro" by Ernesto Nazareth.
>>
>> I couldn't agree with that.
>
> OK, I take it you've dissociated the remarks I quoted from my post
> enquiring
> about the origins of Scaramouche.
>
> But now, your disagreement with 'that' is on what grounds? Why are not
> all
> of these works eerily similar to Villa Lobos's posthumuous, indeed
> unwritten,
> nonet for 5 harps, 3 trombones and Jews harp?
>
> Furthermore, why is at least one of them not strikingly dissimilar to
> Shostakovich's Eighth Symphony? (And, how could we tell?)
>
> BTW I've always wanted to ask, why is Bertrand Russell not like the Pope?
>
> Or.....*is* he?!!!-)
>
> Don't misunderstand me -- I mostly agree with your intuitions:-)
>
> But, what are we talking about, after all? We could equally ask: should
> we,
> or should we not, play classical music in the style of Tongan eurhythmics?
>
> My answer is, yes; because this is to be, or not two sentences to be, that
> is
> the question, combined....
>
> ...which begs the question, why not?
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd tony.p@-----.org
> | |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
> tel/fax 01865 553339
>
> ... "Who do you want to sue today?" - (c) Microsoft 1997
>
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