Ottevanger's Omphaloskeptic Outpost

[karlhenning]

Yes, the "Jazz font" is a fun typography . . . it does put me in mind of high school stage band : )

[Guido]

Can''t stop listening to this piece!! It's so beautiful... I think I need to check out what you are pastiching ASAP!

[knight66]

Right, unless I have a misconceived idea of what this thread is about.....I want to try to help its focus I.E. Luke's music. I am now going back over the last few pages and I am going to eliminate what I see as an off-topic series of posts.

Saul and Saul's music, behaviour, how he sees himself, how he sees the way other people treat him, how others see his behaviour generally.....have no place in this thread.

Knight

Edit: I have purged the thread, though traces may remain. Sorry if folk think I have been scissor happy, but as someone pointed out, 'Luke needs his site back', and I agree.

[greg]

Just listened to the Canzone.
Put me down as another fan! 
I think it was brilliant... as for the score, you do intend to put dynamic markings, right? 

[Luke]

Just listened to the Canzone.
Put me down as another fan! 
I think it was brilliant... as for the score, you do intend to put dynamic markings, right? 

Ha! Greg, well spotted! They're only absent because of the private nature of the piece - I was just about the only one ever meant to play it, and I know how it should go, dynamically-speaking! You're probably right, I should put them in, if I want anyone else to play it....only I'm far from sure I do!

Really glad you like it, and Guido too, thanks for your generous words. 

[karlhenning]

Just listened to the Canzone.
Put me down as another fan! 
I think it was brilliant... as for the score, you do intend to put dynamic markings, right? 

Well, but again, Luke doesn't intend the score for broad publication . . . so he may not consider the game worth the candle, so to speak, and it may not be worth the time to inscribe dynamics.  It's a piece for his use, and he knows what he wants to do with it, dynamics-wise.

[ Edit :: Of course, the composer's own explanation takes precedence ] ; )

[Luke]

Well, but again, Luke doesn't intend the score for broad publication . . . so he may not consider the game worth the candle, so to speak, and it may not be worth the time to inscribe dynamics.  It's a piece for his use, and he knows what he wants to do with it, dynamics-wise.

[ Edit :: Of course, the composer's own explanation takes precedence ] ; )

Bingo, though! Your explanation = mine, too - see above! 

[Luke]

Can''t stop listening to this piece!! It's so beautiful... I think I need to check out what you are pastiching ASAP!

Don't expect a really close resemblance. It goes without saying that the Liszt is filled with 100x more fantasy, more daring, more flair, more invention, more bravery, more theatre, more skill. These are some of Liszt's most polished, accomplished works, I think. I played the last of them at my Cambridge interview to John Deathridge, so it brings back memories:

http://www.podcastdirectory.com/podcasts/archive.php?iid=16350
there's a free download, nicely played by Roberto Plano a short distance down this page (don't confuse it with his recording of Liszt's Venezia e Napoli, found further down the page, and also well worth a listen (and, also, equally note-heavy paraphrases of Italian songs and arias)

[karlhenning]

Note-heavy was part of the message, as I needn't tell you, dear fellow. By God, let Liszt be Liszt! ; )

[Luke]

Well, exactly. Liszt without all the notes is like Mendelssohn without the....what does Charles Rosen call it in the title of the excellent chapter on Mendelssohn in The Romantic Generation....oh yeah, the Religious Kitsch. (Rosen means this in all seriousness and as a genuine musical type with its own virtues, but it's such a great phrase, too!)

[Guido]

Well, exactly. Liszt without all the notes is like Mendelssohn without the....what does Charles Rosen call it in the title of the excellent chapter on Mendelssohn in The Romantic Generation....oh yeah, the Religious Kitsch. (Rosen means this in all seriousness and as a genuine musical type with its own virtues, but it's such a great phrase, too!)

It really is!

[Saul]

Wow....I go away for a few hours....!

Saul can comment on my pieces, of course he can. They're public domain now!!!!!!!

Yea Yahoooooooooooooooooo!!!!!!

[Luke]

The rest of what I said too, though, Saul, that you deleted from that quote - i.e. that your comments are open to comment too, of course.

[Saul]

The rest of what I said too, though, Saul, that you deleted from that quote - i.e. that your comments are open to comment too, of course.

Double Yes Yahooooooooooooooooooo!!!!!!!

[knight66]

OK Saul, that's it for now. This thread is about Luke's work. You have been told you can comment on it, no one tried to stop you. Now, back to the topic.

I am gonna get nasty soon.

Knight

[Luke]

New avatar     Paul Klee's Ad Marginem, a painting which inspired a minor little piece of mine for solo flute a few years ago (attached - nothing spectacular, just an experiment in various things.)

Here it is a little larger:



On that rather flame-grilled 'Hot Topics' thread that was burning away a few days ago, I was lamenting the fact that, in a world run by Teresa, I'd have to take 'degenerate' art such as Klee's off my walls, and I posted another Klee picture by way of illustration, this one:



about which I was going to post more when fireman Mike extinguished the thread. Specificially, what I was going to say was that these wonderful pictures of Klee's (and I how I love Klee's work of this period!) are the most beautifully simple expression of a major concept in approaching modern art - flexibility in viewpoint and perspective. It occured to me that a modern art hater - and in this context, a Teresa, or a Saul - could well complain about these pictures of Klee's: 'The flower is upside-down; so is the bird. Bah, these moderns, it's all for shock, it's all to look clever, it's all a con'. Whereas in fact, all that you need to do to understand these pictures is to allow yourself to shift perspective: not all pictures are meant to be viewed as if standing in front of the object. Klee loved to paint as if lying down, his vision filled with the sky, and with plants and trees and animals all around him, on every side. Ad Marginem is an imagined view from the bottom of the Nile up to the blazing sun! Versukene Landschaft is a mixture of persepctives, fittingly.

Metaphorically, this seems such a simple, gentle way of illustrating things - be prepared to alter your viewpoint; the classic approach is not the only one, nor the only valid one. It goes without saying that this applies to music as well. Tonality works, in its own way; atonality is equally valid, in its many varying different ways. It simply requires the ability to hear from various listening 'viewpoints' to appreciate this.

Well, anyway, that's why I changed my avatar!!! Looks rather fine, I think!

[Guido]

New avatar     Paul Klee's Ad Marginem, a painting which inspired a minor little piece of mine for solo flute a few years ago (attached - nothing spectacular, just an experiment in various things.)

Here it is a little larger:



On that rather flame-grilled 'Hot Topics' thread that was burning away a few days ago, I was lamenting the fact that, in a world run by Teresa, I'd have to take 'degenerate' art such as Klee's off my walls, and I posted another Klee picture by way of illustration, this one:



about which I was going to post more when fireman Mike extinguished the thread. Specificially, what I was going to say was that these wonderful pictures of Klee's (and I how I love Klee's work of this period!) are the most beautifully simple expression of a major concept in approaching modern art - flexibility in viewpoint and perspective. It occured to me that a modern art hater - and in this context, a Teresa, or a Saul - could well complain about these pictures of Klee's: 'The flower is upside-down; so is the bird. Bah, these moderns, it's all for shock, it's all to look clever, it's all a con'. Whereas in fact, all that you need to do to understand these pictures is to allow yourself to shift perspective: not all pictures are meant to be viewed as if standing in front of the object. Klee loved to paint as if lying down, his vision filled with the sky, and with plants and trees and animals all around him, on every side. Ad Marginem is an imagined view from the bottom of the Nile up to the blazing sun! Versukene Landschaft is a mixture of persepctives, fittingly.

Metaphorically, this seems such a simple, gentle way of illustrating things - be prepared to alter your viewpoint; the classic approach is not the only one, nor the only valid one. It goes without saying that this applies to music as well. Tonality works, in its own way; atonality is equally valid, in its many varying different ways. It simply requires the ability to hear from various listening 'viewpoints' to appreciate this.

Well, anyway, that's why I changed my avatar!!! Looks rather fine, I think!

I love so much of Klee's work... I even know someone who has one (a painting of a reclining figure). That second one in particular is gorgeous. I already can't remember what your previous avatar was!

[karlhenning]

Love Klee.

[Luke]

The musician's painter. The musician-painter, in fact. No artist understood rhythm, form, directed motion and harmony as he did, I think, and this understanding stems from his experiences as a musician, I'm sure. Something like Pastorale (whose subtitle is Rhythms), resembles a musical score as much as it resembles fields of harvested wheat. It even looks like it is in 'pastoral' 6/8, with those swaying arch-forms:



Guido, this is my first avatar since coming back. Couldn't decide on one till now.

[Guido]

Didn't know about the musical connection at all, but it makes so much sense.