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Klarinet Archive - Posting 000105.txt from 2004/12

From: Tony Pay <>
Subj: Re: Re: [kl] Scaramouche
Date: Sun, 5 Dec 2004 20:23:41 -0500

On 6 Dec, "Fernando Silveira" <> 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 Pay
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