"History of Photography in Sound"
Is that the piece? Interesting. What kind of a piece is it and how long do you mean?
Is that the piece? Interesting. What kind of a piece is it and how long do you mean?
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Sorry yes "History of Photography in Sound" is the piece and it's about 5 hrs long I think, although I've never heard it all before (I couldn't attend any of the perfomances by Ian Pace).
It's quite hard to describe but if you listen to the English Country Tunes you'll get a fair idea. Finnissy is in a "school" know as the "New Complexity" which is a pretty much meaningless name to me.
In a way I suppose it sounds a bit like a european post serial 5 hour version of the Ives piano music. Sort of. [*-)]
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Finnissy - what does it sound like?
I'd say that it is generally very dense (pages could be more easily printed with white ink on black papaer), full of allusions to all sorts of things, shards of tonality, spikey, notty, athletic, virtuosic, very English etc...
basically he is a bit bonkers - not that unusual in composers so we can't hold that against him.
He's part of the new complexity outfit (with Barrett, Chris Dench, Dillon maybe etc), for whom Ferneyhough is the great inspiration.
Although F is a pianist and a pianist's composer (though not this pianist), I think his best stuff is the orchestral music eg. Red Earth, which is a blast of goood orchestral writing.
hope that helps.
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Um...... what does it sound like?
F**k**G Cr@P!
Hahah!! In all honesty, that's what I would have thought from the limited information before us. But, it remains to be seen, of course [[;)]]
I have read a few psychology of music papers, and it appears that humans can only percieve, at peak concentration, a maximum of five musical elements (voices or planes of tone) simultaneously. So, it would seem that composing 26 is rather a waste of time, as it is simply percieved as a blanket of sound, or even noise. If you venture into the realms of more than 5 busy elements at once, the music recedes into a single mushy voice, which is not interesting, or engaging. It's not a matter of quality or lack thereof, it's just impossible for humans to hear this music in the way the composer intended. He wrote it all in non-real time, but we get this huge, stupifying avalanche of simultaneous elements that our brains can not hope to ever cope with!
Still, I would love to hear this stuff, because anything bonkers is good in my books, and desrerving of my curiosity.
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I have read a few psychology of music papers, and it appears that humans can only percieve, at peak concentration, a maximum of five musical elements (voices or planes of tone) simultaneously.
Well, maybe I was a bit hasty, but I heard my milkman whistling some of it the other morning as he came down the road, and I have to say, I didn't care for it much. But it was early! [[;)]]
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Paul,
I think that milkman must be bonkers himself. You'd better check your milk carefully.
Leon,
I agree with your statement that a sufficient number of elements becomes mush after a while. The live version of MIDI soup. What you said also reminds me of some early experimental computer music, in which the composer was discussing at great length how the meter was in simultaneous 9.8/4 and 15/8. It occurred to me that this would translate - in practice - to NO meter.
Though I also like anything insane (as long as its not too violent - a few homicides, or burning down the concert hall while finishing your part solo, o.k. - but nothing extreme)
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I'm sorry I hadn't spotted that this thread had continued and I'm never ne to miss an opportunity to eulogise about Sorabji.
The recital Nick must have heard (or gone to? - that would be just too exciting) in the 80's must have been Ogden's momentous performance of the Opus Clavicembalisticum at the QEH which he later went on to record on the Altarus label. That recording is soon to be re-released.
As I detailed in the first post on this thread OC, which lasts about 4.5 hours is not Sorabji's longest work - there are several longer including the Organ Symphonys Nos 2 & 3 both of which last about 7 hours. The 2nd is due to recieve it's world premier soon performed by Kevin Bowyer. Equally long would be a complete performance of the 100 transcendental studies . These have almost all now been premiered and are being recorded on the BIS label the first of seven volumes is due to appear later this year.
The Altarus label champions Sorabji's music http://www.altarusrecords.com/News.html
and have recently released a 3CD set of Jonathan Powell's performance of the 4th Sonata which comes in at a mere 2.5 hours.
Notably, within the next two weeks there will be two performances of Sorabji in the Merkin Hall New York. Donna Amato will perform the WP of the Piano Symphony No 5 (again 2.5 hours) and Jonathan Powell will play Opus Clavicembalisticum. Here's an article in the NYT http://www.nytimes.com/2004/06/13/arts/music/13GRIF.html
I was fortunate enough to hear JP play the OC last year in the Purcell Rooms. I posted my usual OTT reaction here
http://www.sibeliusmusic.com/cgi-bin//chat/chat.pl?com=thread&start=139231&groupid=1&words=Sorabji&name=carter
Of course how long a piece is, has absolutely no bearing on whether it's worth listening to. I could go on and on and on about the extraordinary qualities of Sorabji's music but I shan't - if you're interested in a totally different musical exprience which requires you to put (almost) as much effort into the listening as it does for the performer to perform it and indeed it did for the composer to write it then try it out.
My editing of the Jami Symphony continues apace and I have just completed page 435 of 812 - should be finished late 2006 and then I'll start on the virtual performance.
DC
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P Paul moved this topic from Orchestration & Composition on