|
|
Neil McGowan
|
|
« Reply #1 on: July 02, 2014, 11:55:45 am » |
|
It's a rather good piece, isn't it? :) Imaginative orchestration - always one of my top criteria :)
I'll stay mum about the composer's identity, although the question-setter provides it in the YouTube notes. Written in 1955 - before he began wasting his time on 12-note rows.
|
|
|
|
Gauk
|
|
« Reply #2 on: July 02, 2014, 07:13:54 pm » |
|
I had never heard of the composer before this. If he moved on to serialism, I'm not surprised. "Name this tune" is maybe not the most appropriate thread title.
|
|
|
|
Neil McGowan
|
|
« Reply #3 on: July 03, 2014, 01:00:53 pm » |
|
Apparently he began writing 12-tone row music in 1961. That seems to have finished his career :(
|
|
|
|
ahinton
|
|
« Reply #4 on: July 03, 2014, 01:22:12 pm » |
|
Apparently he began writing 12-tone row music in 1961. That seems to have finished his career :( Well did it now?! I wonder how many people listening to his music from that time onwards recognised that it was dodecaphonic without first being told so... As someone who writes tonal music and has included in various works a number (though admittedly not all that many) of 12-note themes of which none are ever treated serially, I think that it's worth considering the difference between, on the one hand, the inclusion of dodecaphonic material and, on the other, the adherence to dodecaphonic principles and practices throughout a piece. I did write some 12-note serial music in my first year or two of writing but soon concluded that, for me, it was largely a waste of time because I simply couldn't equate that kind of thinking with what I wanted to do; perhaps, had I nevertheless continued with this, it might have finised my career before it ever even strted! Studying the music that Boulez, Stockhausen, Nono and others of the vultures that circled over Darmstadt from the late 1940s onwards did help to sharpen my ears, though, even though its impact seems largely to have ended there.
|
|
|
|
autoharp
|
|
« Reply #5 on: July 03, 2014, 06:54:48 pm » |
|
Try this:-
It's Skalkottas's Mayday Spell. Some of it is tonal, some atonal, some serial. Probably easy enough to tell what is what, although it's often pretty impossible to spot if several of Skalkottas's other works are serial or merely atonal. To my knowledge, this is the only piece of his which contains this mixture.
|
|
|
|
ahinton
|
|
« Reply #6 on: July 04, 2014, 10:58:36 am » |
|
Try this:-
It's Skalkottas's Mayday Spell. Some of it is tonal, some atonal, some serial. Probably easy enough to tell what is what, although it's often pretty impossible to spot if several of Skalkottas's other works are serial or merely atonal. To my knowledge, this is the only piece of his which contains this mixture. Many thanks for this - one of the composer's more appealing works, methinks. I cannot help but wonder if, had Bernard van Dieren continued in the manner of his first string quartet and also embraced serialist practice, he might have written works that likewise combine these elements.
|
|
|
|
Jolly Roger
|
|
« Reply #7 on: July 04, 2014, 10:46:48 pm » |
|
I had never heard of the composer before this. If he moved on to serialism, I'm not surprised. "Name this tune" is maybe not the most appropriate thread title.
I agree..perhaps the title is misleading and a bit bourgeoisie. "A collection of musical notes which may be difficult to identify" would have nailed it.
|
|
|
|
Gauk
|
|
« Reply #8 on: July 04, 2014, 10:55:12 pm » |
|
Probably more interesting as challenges are unlikely pieces by reasonably familar composers - like the piano quartet of Mahler. Or pieces by composers that everyone has heard about, but never heard - step forward Alois Haba.
It's probably not too hard to find a piece by someone no-one has ever heard of before.
|
|
|
|
Jolly Roger
|
|
« Reply #9 on: July 05, 2014, 11:16:19 pm » |
|
Probably more interesting as challenges are unlikely pieces by reasonably familar composers - like the piano quartet of Mahler. Or pieces by composers that everyone has heard about, but never heard - step forward Alois Haba.
It's probably not too hard to find a piece by someone no-one has ever heard of before.
Agreed..there are legions of composers unknown to me, as this one was. Speaking of Mahler, there is also his Suite for Orchestra, Harpsichord and Organ after J.S. Bach (1910) 1. Ouverture in B minor (from BWV1067) 0:00 2. Rondeau und Badinerie in B minor (from BWV 1067) 6:33 3. Air in D major (from BWV 1068) 10:16 4. Gavottes I & 2 in D major (from BWV 1068) 15:19
|
|
|
|
|
|