 [3928]Re:Re:Re:Re:Re:Re:Re:Re:Re:Re:Merlin (236 reads) |
2004-07-15 18:50:01 |
The whole discussion about aesthetics and marimba playing is quite interesting, although we must, above all, keep in mind that our literature has not evolved like the literature of our pianist, string players (or even wind players) colleagues. Thinking that a transcription is a waste of time, from a purist aesthetic, can be valid and I get the point of our anonymous friend - but, allow me to say it with no offense whatsoever, it reveals a certain lack of maturity. How can a musician - either marimbist, lyric soprano, conductor or harpist - develop, if all he plays is a collection of scattered works from post WW2 to today - without ever looking back into history to see what triggered it. Some composers you mention (which I love too), like Henze, Babbit, Wuorinen or Takemitsu, were (like any other artist) influnced by the past, in order to generate the future. No need to go into Schenkerian analysis to realise the connection between Takemitsu's harmony and Debussy or Ravel, or to spot the polyphonic links (polyphonic harmony and rhythm that is) between Wuorinen and Webern. But, I am glad you raised the point on asthetics -- perhaps we could start a thread here, anyone would like to start? Also, I think we should use this maliling list as an opportunity to share and be, at least, polite and sign our comments. Anyone is allowed an opinion and if we desagree it's only to show that we are able to use our own heads and comunicate. Greetings, from sunny Lisbon, Pedro PS - on aesthetics... I played a new work with live electronics and mbots (paiting robots) yesterday (further info here www.pedrocarneiro.com/mcfs and I am off today to D http://www.pedrocarneiro.com Remote Host: adsl045224.lsb.net.kpnqwest.pt |
