 The Clarinet BBoard
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Author: CPW
Date: 2007-05-03 00:06
It's available in 8-track!!!!
Count me in.
Against the windmills of my mind
The jousting pole splinters
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Author: Steve Epstein
Date: 2007-05-03 06:31
Well, I learned where all that background music in the original Star Trek series came from.
Steve Epstein
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Author: Chris P
Date: 2007-05-03 09:59
HAHAHA!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Phat Cat
Date: 2007-05-03 13:39
I can't wait to hear Charo doing Albie and Arnie! I ordered several to use for Christmas gifts.
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Author: Terry Stibal
Date: 2007-05-03 16:06
Now, don't you go knocking Charo. Hootchie-kootchie aside, she is a well trained classical guitarist, and can keep up with the best of them when she's not doing her schtick.
(She was also an excellent example of a woman who was just that and nothing more, coming into entertainment in an age when surgery was not as advanced as it is now.)
She long ago found out that classical music is all well and good, but it just doesn't play the bills. Aside from her marriage to Cugat, she's made a minor industry out of acting the fool for quite a few years now.
That she acts that way and is successful is more a comment about the rest of us than it is about her.
(I think Cugat said something along the lines of "I love Brahms, but playing him doesn't get me the kind of money I need for my swimming pool." Wise words to live by, regardless of your feelings on the matter.)
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: JessKateDD
Date: 2007-05-03 22:21
Ahh - memories of music school. We had all of these chain-smoking hippy professors who were convinced that Webern and Schoenberg represented the pinnacle of western music.
For the uninitiated - Webern, Schoenbern, and Berg called themselves the "New Vienna School". They were revolutionaries. They were doing really important stuff compared to those mediocre "Old Vienna School" composers - Beethoven, Mozart, and Brahms.
I spent an entire semester of my life in History 5, Theory 5, and Ear Training 5 listening to nothing but Arnold, Anton, and Alban. Ugghhh.
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Author: Molloy
Date: 2007-05-04 01:33
They did not call themselves The New Vienna School or any such thing.
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Author: Mark Charette
Date: 2007-05-04 02:35
Molloy wrote:
> They did not call themselves The New Vienna School or any such
> thing.
Perhaps they didn't, but every one else did. Just look it up ...
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Author: Steve Epstein
Date: 2007-05-04 07:55
I completely understand the New Vienna School, or the Second Vienna School, as it's called on the mp3. These composers were just like Beethoven -- except they got all the notes wrong!
Steve Epstein
Post Edited (2007-05-04 07:56)
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Author: Molloy
Date: 2007-05-04 15:27
I know that they have come to be called that. The poster said that they called themselves that, which greatly misrepresents them.
Schoenberg was humble about his significance as a composer, he never claimed (and did not consider himself) to be a Beethoven or a Brahms. If he got a reputation for arrogance it was because he was constantly forced to respond to attacks that he was worthless. Neither Berg nor Webern was, as far as I know, ever known to (pardon the pun) toot their own horn, although they did say things about Schoenberg's greatness.
It's amusing and sad that even today their names can generate the same old tirades, which sound very similar to the 'reasons' that the Nazis gave for banning their music seventy years ago. But I can understand how a student forced to listen to bad performances of difficult music would develop a strong distaste.
Because the commodification of 'classical' music has not been kind to them, especially to Schoenberg. Some unspeakably poor performances of Schoenbergs music (especially those conducted by Robert Craft) were widely available back in vinyl LP days, and half (or more) of his compositions were only available this way -- at least in the USA. Eventually some good recordings were released, including just before the switch from LP to CD what I would call definitive versions by the Schoenberg Ensemble of the Serenade (op 24) and the Suite (op 29), two works that I think are of great interest to clarinettists. Many of the good recordings were never rereleased on CD, while for some reason the old Robert Craft recordings have again been made available. Webern has never been widely recorded, but at least the complete works under Boulez is not bad. Berg has fared better, I think, although of the three I have paid the least attention to recordings of his work.
If you are unfamiliar and curious, try to stay away from bad recordings. It'd be better to remain ignorant. But if you can get access to the Schoenberg Ensemble's recording of Schoenberg's op 24 Serenade, I highly recommend it.
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Author: JessKateDD
Date: 2007-05-04 19:17
Wow! Molloy sincerely believes that the reason no one wants to listen to "New Vienna" composers is because the performances aren't good enough!
Also, there is the problem of "commodification". In other words, the consumers (all of us) are too stupid and ignorant to realize the value of these great mens' music.
Music school does strange things. You spent as much time on Berg and Webern as you did on Mozart and Beethoven. And in all of my history and theory classes, we never discussed nor listened to a single work by Tchaikovsky, Rachmaninoff, or Bruckner. They just weren't important enough.
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Author: David Spiegelthal ★2017
Date: 2007-05-05 00:40
I don't believe Berg's Violin Concerto should be lumped in with the 'academic' twelve-tone works. Like much of Berg's work, it was basically romantic music with some twelve-tone content. It has a lot of standard tonality and structure to it. IMO the Violin Concerto is one of the most wonderful pieces of music ever written (and for once I'm not joking or being facetious).
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Author: Clarence
Date: 2007-05-05 01:12
This has got to be the worst commercial I've heard in a long time.
I must have missed something.
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Author: RodRubber
Date: 2007-05-05 03:02
I agree with Dave's take on Berg Violin Concerto. truly one of the greatest masterpieces, definately the most approachable work from Berg, Webern or Schoenberg. berg's opera Wozzeck is not a 12 tone work, but is amongst the finest 20th century operas, and a highly influential work.
One can be dismissive and say all the notes are wrong or whatever. But the twelve tone system and its ramification represent a logical outgrowth of the music that preceeded it.
Robert Craft really did record some of the worst things in the history of music. Ever heard his Gesualdo recording, could make a horse gag.
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