Thank you once again. I have a question. Do you know why the BBC has been omitting many of the contemporary works (Lachenmann, Matthews, Shepherd, etc) from their TV broadcasts? I am hoping they eventually include them in a future broadcast (there’s one upcoming dedicated to new music), but still, they should have kept the programs in their entirety.
JC
8 years ago
admittedly wasn’t the highlight rep of our tour, and understandably by first listen its fairly matter-of-fact without too much thematic development. The special aspect of this piece to me and others from the orchestra is how Sean spat out these fragments of music and recycled them but not always in the same order, and definitely never copy/paste from their introductions. Always there’s a ‘fifth-business’ either by presence or absence that generates energy straight to the last downbeat. Despite orchestrations that maybe didn’t sound successful (by which I actually argue their value), it was by no means a boring piece to us playing it – and maybe by alternate interpretations an audience wouldn’t find it boring either.
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Thank you once again. I have a question. Do you know why the BBC has been omitting many of the contemporary works (Lachenmann, Matthews, Shepherd, etc) from their TV broadcasts? I am hoping they eventually include them in a future broadcast (there’s one upcoming dedicated to new music), but still, they should have kept the programs in their entirety.
admittedly wasn’t the highlight rep of our tour, and understandably by first listen its fairly matter-of-fact without too much thematic development. The special aspect of this piece to me and others from the orchestra is how Sean spat out these fragments of music and recycled them but not always in the same order, and definitely never copy/paste from their introductions. Always there’s a ‘fifth-business’ either by presence or absence that generates energy straight to the last downbeat. Despite orchestrations that maybe didn’t sound successful (by which I actually argue their value), it was by no means a boring piece to us playing it – and maybe by alternate interpretations an audience wouldn’t find it boring either.