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Thu, 30 Oct 2003 18:56:42 +0100 |
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Bert Bailey:
>Martin: A most rewarding composer.
You're right, we came in second in the 1996 Palestrina Choir Competition
in Jerusalem, Israel with our Maastricht "Capella Sanctii Servatii"
choir with his mass for double choir (eight voices). So he's certainly
rewarding.
Also consider his Ariel songs for "The tempest". Among the best 20 th
century choral music you 'll find.....
Something else: somebody (Dave?) mentioned that Sheherazade might be one
of these pieces that "wear out" after repeated listening. As you know,
I'm one for putting salt of snails. So here is the question: what exactly
makes a piece of music "wear out"? Simplicity of form? Bleakness of
melodic shapes? Predictability? Any thoughts?
Somebody, I believe it was Pierre Boulez, once said that really good
music tends to get easier/clearer/more predictable at first, and then
when you REALLY live with it for years and years, it turns more mysterious
again. Two examples:
1. Listen to the funny bassoon phrase in the overture to Figaro's wedding
that modulates us into the contrasting cantabile theme.
2. Listen to the penultimate chord of the Laderonette, Queen of the
Pagodes in Ravel's Mother Goose Would that wear out?
Doesn't all that sound like a good marriage or friendship? I certainly
like the idea of thinking of some pieces of music as "friends".
Jos
(who is going to spend the evening with his friends, the piano quartets by
Faure)
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