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Klarinet Archive - Posting 000108.txt from 2004/12

From: "Fernando Silveira" <fernandounirio@-----.com>
Subj: Fw: Re: [kl] Scaramouche
Date: Sun, 5 Dec 2004 21:12:36 -0500

Hi Tony.
I said that because the comparison is awfull.
I have been playing choro for years and, at the same time, know very well
that piece from
Milhaud. I can't see those esemblance that the author speaks. The comparison
with Nazareth's piece do not correspond what I heard. The another... the
atmosfere is completly diferent.
For the truth we know that Milhaud spent a long time in Rio on the begining
of the 20th century. Milhaud, better than any other non-citizen, capture the
essence of brazilian music and, in several opportunitis he use that -
scaramouche is one of that pieces. But, diferent from the "Le Boeuf sur le
Tout ", when he use entire themes and songs from the Brazilian folklore, on
Sacaramouche he didn't: He create a new melody and a stilistc accompaniment
that just "remember" those pieces he listen in Rio.
That is just MY oppinion.

Best

Fernando

> ----- 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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>>
>>
>

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