Started by tjguitar, May 14, 2007, 05:44:52 PM
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Quote from: mjwal on July 15, 2010, 08:11:30 AMWell, I disagree violently with the ideologically based dismissal of so-called "pantheistic twaddle"! Nietzsche was not a pantheist.... And I happen to find the end of the work particularly moving - it is on the same level as Mahler in Symphony 3's Nietzsche setting, IMO. But of course there is no argument about what moves one most - take it or leave it.
Quoteespecially the words
Quote from: mjwal on July 17, 2010, 08:04:57 AMMike, have you taken a look at the texts of Bach's cantatas recently? Just wondering... (I won't even mention Italian opera or The Dream of Gerontius etc...)
Quote from: mjwal on July 20, 2010, 01:09:42 AMTo jump to Teresa's defence here, I must say that "boring" is a category solely dependent on a person's temperament and sensorium at a given time. Thus, though I enjoyed Dvorak in my youth, I now almost always start to get bored when I try to listen to him. I can hear what might delight other people, but it doesn't affect me. I am not putting Dvorak down, it would be absurd, he is a major composer. I love garlic and I hate Brussels sprouts. De gustibus & all that. I love Delius but can very well perceive why others find his music boring. To be frank, all music can bore at the wrong moment - it is a great gift to be able to enter into the magic of great music.
Quote from: Mirror Image on September 16, 2010, 02:01:12 PM Anyway, getting back to Delius, I have acquired a great recording of Richard Hickox's first go at Sea Drift on Decca Eloquence and it is beautiful. This recording also contains a great performance of the seldom-heard Appalachia.
Quote from: J on September 17, 2010, 12:16:30 PMAppalachia is my very favorite Delius work - "ecstatic melancholy" is how I might describe its character - and the Hickox recording just perfect (I find Barbirolli's reading unlistenable by comparison - so leaden and ponderous).The 6th movement (I think) "lento" is simply one of the most achingly beautiful pieces of music there is.
Quote from: mjwal on March 04, 2011, 09:02:19 AMAn interesting little piece of information I came across yesterday on line: back before WW1, Delius, whose work was then successful in Germany, became friends with Heinrich Simon, the proprietor cum editor of the Frankfurter Zeitung, who at Delius's request compiled the literary collage that was set by D in his (unreligious) Requiem. They were also friends with the great artist Max Beckmann, who made drawings of both that were recently displayed in Cincinnati, I believe - did anybody see this exhibition? I have unfortunately never heard the Requiem - the Meredith Davies recording is oop so I would have to buy Hickox 's Mass of Life as well, and somehow I balk at this. - Personally, I cannot agree about Delius being the "Morton Feldman of his day" - D's music is always associated with a very powerful complex of affects (bright-eyed melancholy yearning, proud tristesse of deliquescence?) whereas Feldman's work (which I admire and appreciate immensely) doesn't exactly propose itself as "expression".
Quote from: Mirror Image on March 09, 2011, 10:18:47 PMObviously, Delius and Morton Feldman are different composers with a totally different view on composition and more importantly they both came from different times. My point is that Delius' music, much like that of Feldman's, is atmospheric and more concerned with shape, color, and texture, but both composers were obviously able to think outside of their own boxes on numerous occasions. The context in Delius' music is coming from a transitional Romantic expression and incorporating more modern techniques like those found in the Impressionism of Debussy. Feldman, on the other hand, was coming from a post-Modernistic viewpoint. Taking into account, also, are the developments that had been made with electronic music and the serialism of Boulez and Stockhausen, but not to mention the innovations made from Cage (a big influence on his own music), Babbitt, Varese, among others.So sonically both composers are quite different and have different ideals about music, but both are coming from a more textural point-of-view about music and this is the point I was trying to make.
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