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Author: brycon
Date: 2017-01-05 04:46
Quote:
In a remarkable demonstration of the affine nature of infinity, once one advances so far as to play the impossible, one sounds indistinguishable from a first-time player.
To piggy-back, a couple of semi-relevant points:
At the beginning of the 1950s, John Cage and Pierre Boulez had a rather interesting exchange of letters (which were published by way of the great French-Canadian semiotician Jean-Jacques Nattiez). Boulez halted the correspondence once Cage began exploring indeterminate music; the Frenchman's own compositions, conversely, were completely serialized--pitch, duration, dynamic, etc. But when you listen to these two radically different approaches to composition--one left largely to chance and the other rigorously worked out--they sound pretty similar to one another. Likewise, a common complaint about Ferneyhough's music is that the same effect could be achieved by competent improvisers. (But then you get into the question of music as a form of communcation, about which, incidentally, Jean-Jacques Nattiez frequently writes.)
Secondly, I was recently at the Cy Twombly Museum in Houston. The museum's curator told me that Twombly had spent several years trying to forget what he'd learned in order to draw/paint like a child again. For me, Twombly's rejection of the inherited modes of expression lead to paintings of great depth and beauty. (Similarly, James Joyce had to learn how to write/think like a child, middle-aged woman, her Jewish husband, etc.--and his works, despite adoption into the canon, still suffer the same sorts of stylistic criticism on display here.)
At any rate, I find it interesting that the most ardent critics of modernist music are very often musicians. When I attend concerts of new music, non-musicians, and especially young people, seem to really enjoy it. Bach, Beethoven, and Brahms still have a lot to tell us. But conservatories, symphony orchestras, opera houses, et al. have done an absolutely terrible job of letting them speak--as though people should shut up and take in some Beethoven just because it's Beethoven ("Hey now, this music is important!"). It seems as though modern music--or musicians who perform modern music--are doing a better job of bringing in new audiences (or perhaps modernism speaks more to young people and non-specialists?).
Post Edited (2017-01-05 04:51)
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Re: THE IMPOSSIBLE! Clarinet solos? |
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brycon |
2017-01-05 04:46 |
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seabreeze |
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seabreeze |
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larryb |
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brycon |
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The Clarinet BBoard
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