Hi all

Oliver Knussen:

"Flourish with Fireworks"
"The Way to Castle Yonder"
"Horn Concerto"
"Music for a Puppet Court"
"Whitman Settings"

Summary from the busy non-executive: Imagine the manuscript of
Stravinsky's "Firebird" ballet as a shattered vase hastily, (yet cleverly),
pieced back together by Knussen before papa Boulez and mama Schoenberg came
home.  (Way past the days when Schoenberg could still fit into that sexy
Gurrelieder outfit.)

20th Century composers are frequently derided for not caring about the
"needs" of their contemporary concert-going audience.  Not so with Knussen.
Though his works are unquestionably modern, I can't help but notice that
the composer is *really* trying hard to be the listener's buddy while not
compromising his craft in the mean time.

Take the titles--no "Density 21.5" for Knussen--his titles are as earthy
as a Portland Rennaissance Festival--in mid-summer (if you know what I
mean).  Even in the horn concerto Knussen "strives to capture the horn's
'character' " -- extra-musical motives if you ask me--though I think that's
just fine.  Glowing orchestral color abounds.

Does Knussen have his own voice? Not sure yet.  Knussen, who definitely
seems to like wandering through the old, boarded-up houses best, may have
resurrected one ghost too many for this listener.

Recorded sound is to die for, er, to *kill* for.  (Following the
lead of a fellow list member, I will no longer use the archaic, yet
femininely-charged phrase--"to die for." As a male and a red blooded
American, I feel that I have mocked the masculinity of men everywhere and
have threatened to rip the very fabric that holds our country together.
So from now on--TKF, or "to kill for.")

see ya later all 'youse

John Smytheneager