tag:blogger.com,1999:blog-13593902.post1848754781800714439..comments2024-02-11T09:55:50.468-08:00Comments on The Eastside View: The Duchamp OperaCharles Sherehttp://www.blogger.com/profile/10480432901356490235noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-13593902.post-33214167557810039582009-10-31T09:25:25.143-07:002009-10-31T09:25:25.143-07:00The subject of influence came up in the post-talk ...<i>The subject of influence came up in the post-talk discussion, stated and unstated. Alex North's score for </i>The Rose Tattoo<i> was a considerable influence on me as a young composer; I listened to the recording repeatedly, fascinated by the overlapping and cross-cutting musics within it. I didn't realize at the time how like Ives it was.</i>Charles Sherehttps://www.blogger.com/profile/10480432901356490235noreply@blogger.comtag:blogger.com,1999:blog-13593902.post-53601954091994321412009-10-31T08:11:44.936-07:002009-10-31T08:11:44.936-07:00Hope your lecture went well.
Tilson Thomas gave o...Hope your lecture went well.<br /><br />Tilson Thomas gave one of his lectures the night before on Shostakovich's 5th, interpreting it as a veiled subversive complaint against Stalinist censorship. I'm not sure this makes complete sense, despite the fact that I've always felt Shostakovich's music seemed dramatic in a sort of programmatic way. "Struggle" and foreboding elegy. <br /><br />The trouble with programmatic interpretations is several-fold. Certain rhythms and orchestral combinations are inextricably associated with specific phenomena. Bands (brass) with military and marches, for instance. Chimes with music-boxes. <br /><br />There are some great movie music composers who've done innovative things with different sounds. Are you familiar with any of these?Curtis Favillehttps://www.blogger.com/profile/06213075853354387634noreply@blogger.com