tag:blogger.com,1999:blog-8827040061563065922.post1652992141604406948..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Townsend: Preludios epigramaticos by Léo BrouwerBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-8827040061563065922.post-34249938724417358332013-01-10T12:14:13.887-06:002013-01-10T12:14:13.887-06:00Hi again,
Yes, almost 40 years ago. And yes, I th...Hi again,<br /><br />Yes, almost 40 years ago. And yes, I think we did have lunch together at times. Do you have any other photos from then you could post? I have some. My email is jamesef@broadpark.no. I live in Oslo, and have been here the last 25 years. Send me a mail and I'll send you some photos if I can dig them up. Best, JimAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-62797700342266054412013-01-10T09:05:56.652-06:002013-01-10T09:05:56.652-06:00Hi Jim,
Didn't you and I and Klaus used to go...Hi Jim,<br /><br />Didn't you and I and Klaus used to go for lunch together? Great to hear from you. Yes, Jonathan Baker is in the back row and to the right of him is another Canadian guitarist whose name I forget. Next to him is a Mexican guitarist named Marcos and the two girls in front of him are from Belgium and one of them got to be quite well known. Kneeling in front in the blue shirt is an Irish guitarist who was my roommate, but whose name I also forget!<br /><br />That was a long time ago!<br /><br />Where are you now, and what are you up to? Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-7132588080192458722013-01-10T07:35:34.746-06:002013-01-10T07:35:34.746-06:00Hi Bryan,
I stumbled on your blog and discovered t...Hi Bryan,<br />I stumbled on your blog and discovered the Alicante photo. I was studying with Tomas at the same time. In fact, I'm crouched down right beside you, with black hair. Helminen and I were roommates. Also recognize Jonathan Baker in the back row, with the beard. Best, Jim FrazeeAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-31935199505685044782012-10-14T19:43:32.249-05:002012-10-14T19:43:32.249-05:00
ॐ...<br /> ॐ...RGhttps://www.blogger.com/profile/17404263429983838122noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-52504228982437533182012-10-14T16:54:27.887-05:002012-10-14T16:54:27.887-05:00Now that is a tricky set of questions! The practic...Now that is a tricky set of questions! The practice of utter silence during performances was one that grew up during the 19th century. It was part of the "romantic trance" in which one must not disturb the hypnotic effect of music. In the 18th century the aristocracy talked, ate, cheered and had liaisons with their mistresses during concerts! But all that was reined in during the 19th century when listening to music became a more sacred act and people became afraid of interrupting it with applause in the wrong place. Yes, perhaps some embarrassment might come from clapping at the end of the wrong movement: "don't you know the symphony doesn't end with the minuet?"<br /><br />There is one composer at least who wrote a piece precisely to tempt the audience into clapping at the wrong place: Joseph Haydn in his "Joke" Quartet, op 33 wrote several false endings in the last movement to do just that! But, alas, nowadays, it doesn't come off the way it should because audiences are so cowed they sit on their hands no matter what!<br /><br />Clapping does seem a strange way to show approval. I think a more impressive way is to simply sit in silence for a bit, let the mood of the piece ebb away slowly...Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-46756162969393282522012-10-14T16:34:32.744-05:002012-10-14T16:34:32.744-05:00My question(s) should probably be with your Fake/R...My question(s) should probably be with your Fake/Real post, but I have come back to these Preludes.<br /><br />Why do people feel so mortified when, after listening to a piece(new or imperfectly remembered), they anticipate the end with premature applause? <br /><br />Do they feel guilt for spoiling with their noise the ending and the thus the whole? Undermining the efforts of the performers? or the aesthetic enjoyment of their fellow listeners?<br /><br />Or is their attendance at the performance part of some elaborate pretence to cultural refinement and musical knowledge which, with themselves, has been embarassingly unmasked by their mistake?<br /><br />The outrage of fellow listeners is supercilious at best and more likely Schadenfreude. Do performers take an analogous delight in such faux pas? Do composers sometimes write works with pause traps at the end -- precisley designed to entrap the unwary?<br /><br />[A noise like "clapping", at a point plainly not mistakable as the end, or one of a different (even if more cacaphonous)kind is dismissed by all as less 'ooo ooo' serious!]RGhttps://www.blogger.com/profile/17404263429983838122noreply@blogger.com