title: NO BLOOD for the JOEY LIEBERMANS

author: Klaus Heymann

text:
NO BLOOD for the PAUL WOLFOWITZES
NO BLOOD for the ARI FLEISHERS
NO BLOOD for a mere SANDBOX
NO BLOOD for ISRAEL
NO BLOOD for OIL
NO BLOOD for VENGEANCE
----------------------------
"In life, democracy.
In art, aristocracy."
--- Arturo Toscanini
----------------------------
On 26 September 2000, the so-called Great Mickey (Mouse) Richter
performed a
'plug in', heroically, on behalf of Klaus Heiman [sic], the so-called
Authority behind ---naXos---:
http://listserv.cuny.edu/Scripts/wa.exe?A2=ind0009D&L=opera-l&P=R10995
Thus spoke the authority:
"Most singers understand that recording opera is extremely expensive,
especially under our perfect studio (not live) conditions and are
happy with our modest flat fees. Look at our Fidelio cast! The bit
about being allowed only two or three takes and no chance of fancy
editing is nonsense ... artists are allowed as many takes as necessary
to get the music right. However, having said that, we expect our
artists to be well prepared unlike many big-name artists who rely on
the producer and editor to produce a good performance."
We ask:
1. Mr. Heiman seems to have contradicted himself by simultaneously
affirming that his artists are indeed allowed "fancy editing...to get
the music right" and ranting against the "many big-name artists who
rely on the producer and editor to produce a good performance." What
exactly is the difference? Isn't fancy editing what earns producers
and editors their bacon, be it at naXos or Lucifer Classics? Or is Mr.
Heiman whining because Lucifer's console is bigger than his?
2. Mr. Heiman seems to have fallen prey to the epidemic virus of
unfounded critical prejudice and the politics of defamation and
character-assassination (the rate of infection appears to be
abnormally high within the familial fraternity of
American/Anglosaxon/Anglophile critical bedfellows). His words can be
easily formulized: "Big Name + Big Label = Little Music (or Falsity)".
No need to state the converse: "Little/No Name + Little Label = Big
Music (or Truth)". Who exactly are these many unprepared big names?
And how, where, and when?
3. A few years back, the authority was also quoted in "The Boston
Globe" - this other 'plug in' courtesy of critic-turned-promoter
Richard "local church mice are world-class people too" Dyer. Lately,
Dyer has been heard advocating for the equal part Charity/Chimpanzee
Acts that are The Three Mo' Tenors, Andrea Bocelli, and Charlotte
Church.
["Maestros of the Pen: A History of Classical Music Criticism in
America", by Mark N. Grant, Northeastern University Press, 1998, ISBN
1-55553-363-9:  n-o-t  o-n-e  f-o-o-t-n-o-t-e  on Dyer --- and this
after a 25-year+ career behind him dedicated to latter-day
Anglo+Judeo+Homo-centric bitchery and dishonesty; and just as long
dedicated to sobbing after one Lucine Amara.]
But back to the authority:
"The market is shifting away from name artists, and the average music
lover is confused by bins crowded by recordings. What is the
difference between Riccardo Muti, Claudio Abbado and Riccardo Chailly
in a given piece? Whatever the difference is, it doesn't mean anything
to the average music lover who gives up and chooses our recording
because it is more reasonably priced, and the performance is just as
good. It is an absurdity for Plácido Domingo to sing 'The Barber of
Seville'; our recording is a better performance of the opera. If
Cheryl Studer were to come to me and ask to sing some of the operas
she has recorded, I wouldn't let her." {Author: Richard Dyer / Date:
19.01.1994 / Page: 61 / Section: Living Arts}
We comment and ask:
3A. Funny but we bet that the suits at Lucifer Classics swear
t-h-e-i-r  barber gives a better haircut. Not that some of us (not
nearly enough) give a damn about Sire Domingo, at least not since his
early 90s (and thereafter) publicity and musical circus prostitutions.
3B. Let us cut to the chase: we propose that one big reason for
the present-day crisis is that the ever-so-important anecdotal
experience of the live stage experiences  a-n-d  documented
legacies of certain important big-names (those immediately preceding
the generation of today's so-called "A List") literally fell through a
 g-e-n-e-r-a-t-i-o-n-a-l  c-r-a-c-k.  In the realm of opera, this
previous generation came "too soon" after the Marias and the Renatas
and the Joans and the Montserrats and the Vickys and the Mirellas and
the Regines and whoever....and "too late" for today's democratic
free-for-all (think of the deregulation of the airline industry in the
U.S.A. - surely it is cheaper to fly and with more options but the
experience is ghastly) in deadly mix with the quick fixes and
seductions of Hyper Public
Relations, Hyper Text, and Cyberspace. Few artists can survive without
some form of critical and popular encouragement. It became fashionable
sport (nah, Mob Rule - nah, Olympics) for too influential but equally
ignorant, tin-eared and incredibly, corrosively partial critics and
their bedroom partners to dismiss these artists' work faster than they
could say Compact Disc (and worse: to fully ignore too - consider the
phenomenon that is the Phenomenally Perverse Eclipsing by the press of
a certain
v-e-t-e-r-a-n  soprano whose stage appearances are pre-judged to be
just that: Appearances: Phantom Ships In The Night, when noticed ----
or to fully  d-e-n-y  the usual "critical analysis" - is that what it
is? - accorded minor lights ("Monsieur G could not sustain pitch
b-u-t  the Sicilian
understanding" [the same understanding which, according to the
experts, eludes fellow Southerner Riccardo Muti] - "Madame F [no other
soprano before or during Renée is known to have ever "taken
chances"....hear hear] shrieked unnaturally, flatting two high A
naturals and her overall intonation was insecure too  b-u-t  the
gowns" - "Hausfrau V was in customary squally voice again last night
and her top sounded tired, though no fault of her own,  b-u-t  her
sofa scene was comfortably moving" - "Irish-American AFL-CIO Heroine F
[who, by the by, tries, and is carded, to "sing" "everything"] [no
other soprano before or during Lauren is known to have ever "taken
chances"....hear hear] could not sing Reiza's music [she replaced
DeVoid, who had also cancelled all engagements in Vienna, and for the
2nd season in a row - not a bad thing when you try to remember those
Scheiße AIDAs at the MET where Crayola connected them dots and none of
the music - not to mention the brutal stupor that were
Pavarotti and the ever-accomodating Levine]  b-u-t  the visceral
collision") - "Madame Shout squalled an Elektra 75% below pitch but no
matter: the visceral excitement of some level or other of on-pitch
faithfulness to and by die Juden is good enough for a triumph" -
"Madame Attila spreads her top like butter on warm bread but her cool,
Nordic, blonde looks carried the night" - "The consensus that Madame
Shorties could not really sing Konstanze is questionable for she is a
gifted singer......but more importantly, her name is not Cheryl
Studer" - "Monsieur Hiccup proved once more that you can crack loud
and wide before a Manhattan audience of tourists as long as your name
is not
Cheryl Studer; but more importantly, the loss of 50-plus pounds, in
cocktail
with a widely broadcast the-dog-ate-the-homework medication Sob Story,
are
sufficient to satisfy the most discriminating demands of
the-below-IQ-of-50-and-minus set and anyday's coverage of the Arts in
the
Jew York Times" - "Maestrisssssimo of Legend, Gilbert "Lego Blocks"
Kaplan, swears he can conduct but one piece of music and one piece of
music alone but, as one of "our own", full coverage by the Jew York
Times is fully warranted - all that plus a recording under the
syphillitic Deutsche Grammophon" ---you know the skit--- why yes,
ladies and gents, even  these acts of levitation are denied Midland,
Michigan's Prodigal Daughter
--- But then, taking into account the desperate [in vain] efforts
toward reconstruction, toward opening new markets (undue over-exposure
in Arts journalism - over who counts - over what counts - being the
final vestige of their former Imperial selves), what is the
increasingly brilliant, independent-minded, impartial, cultured,
mature, and sympathetic ---right?--- Anglocentric Universe to do with
a creature who refuses categorization? - of what value or use is the
lady? - of what value or use is the artist? - who is neither English
(nor pretender)
n-o-r  r-e-s-i-d-e-n-t  n-o-r  c-i-t-i-z-e-n  n-o-r  D-a-m-e  nor
Faerie
Queene nor Greek (nor pretender) nor black-and-blue (nor pretender)
nor German (nor pretender) nor Austrian (nor pretender) nor
Kammersängerin nor French (nor pretender) nor Cinema Paradiso Italian
(nor pretender) nor Eastern European (nor pretender) nor
Spaniard/Latin American bombshell (they are the flavor of the moment)
nor Argentinian Tango nor East Coast Yiddishbbuk nor Anonymous 4 nor
Asian nor Canadian nor Aussie --- nor, most importantly, deemed
sufficiently  A-m-e-r-i-c-a-n  --- n-o-r  r-e-s-i-d-e-n-t  nor
MET-centric nor Manhattan/Queens/Brooklyn-ette nor Broadway belcher
nor Saint Francis-can nor Angelena nor Chicagoan nor Texan nor New
Mexican nor
Washingtonian nor Saint Louis Gal nor panderer nor tall nor thin nor
heroine-overdose chic nor blonde nor Blonde Ambition nor grotesque nor
grotesquely zaftig nor power hungry nor faghag nor lesbian nor cherub
nor hairy chested nor fashion rag nor glamour puss nor aspirant nor
aspirate nor potential nor promise (what you hear is what you get) nor
apology nor preserved museum mummy nor soccer mum nor sucker nor trend
nor hip nor H.I.P. nor castrata nor contralto nor countertenor nor
counterculture nor lyric mezzo nor soprano on the verge of a mezzo
breakdown nor vice versa nor chanteuse nor soubrette nor starlet nor
coquette nor canary nor woodbird nor nightingale nor tic toc tic toc
tic toc nor geriatric nor vanity record label owner nor
transposer-conductor-intendant-voicecompetitor-crossover-moviemogul-realestatemagnate-restaurateur-sexsymbol-jetsetter
(all in one and one for all and all in a night) nor lazy nor shrinking
violet nor daddy's lil' lass nor mystic nor minimalist nor hyperbole
nor Überfeminist nor Konzept nor dreams and fables nor metaphysics nor
philosopher ("Philosophier' Er nicht, Herr Schatz...") nor scholar
(nor pretender) nor didact nor pedant nor peasant nor composer (you
know, like Callas, who wrote all them masterpieces now falsely
ascribed to one Bellini, one Donizetti, and one other Verdi) nor
paladin of the glorious avant-garde nor rarity rat nor rat tat tat nor
archaeologist nor room temperature nor Sponsored By Talbots nor
Anglican Service nor Vivaldi postcard nor Handel MBA [opera's answer
to the 80s business phenomenon - everyone has one] nor Britten MD nor
Janácek Nobel Prize nor cliché nor stunt nor parody nor caricature nor
Disney nor Ozzie & Harriett nor Will & Grace nor smiley face nor
horseface nor humor monger (in any event, not the shtick you grew up
with) nor camp nor marketing-promo tramp nor trademark nor
image-chaser nor
sensation-seeker nor Eurogarbage nor ez-listenin' nor pleasure ride
nor automatic cruise control nor sentiment-al nor cripple nor married
to one nor victim nor tearjerker nor nostalgia trip nor tourist trap
nor good-cause nor fund-raiser (so to speak) nor social worker nor
Katie Couric nor Walk For A Cure nor We Are The World nor Sound Of
Music nor Under nor Over The Rainbow nor Rainbow Coalition nor
Summertime nor Supper Time (nice tunes....if you can) nor fruit salad
nor cotton candy nor peaches in double cream nor café au lait nor dark
chocolate nor civil/human rights centerfold nor gulag survivor nor
married to one nor refugee nor married to one nor UN Ambassador nor
married to one nor member of any one precious special interest group
(you know who you are)  n-o-r  m-a-r-r-i-e-d  t-o
o-n-e  n-o-r  s-t-r-a-t-e-g-i-c-a-l-l-y  w-e-d-d-e-d  nor politician
nor married to one nor inter-national political crisis parasite nor
ad-minister of propaganda nor grassroots peace activist (you do know,
don't you, that them ancient favourite warhorses of yours composed by
Beethoven and Brahms and Wagner and Liszt were inspired by the
Israeli-Palestinian conflict --- ask Mehta and Señor Honorario und
Tolerant Barenboim --- by the
by, in a recent Chicago program of Hugo Wolf's Lieder, the "Great
Jewish Musician" [and we thought it un-Klezmer to allude to this
musician's other career] in harmony with his German/Christian
sub-ordinates - a "physically handicapped baritone" and an "underpitch
soprano" (see "Kubiak, David") - were heard "r-e-c-l-a-i-m-i-n-g  the
true meaning of the 'heilge Deutsches Kunst'" --- again, see "Kubiak,
David" --- please note that no one else before GJM had accomplished
nearly as much, and in a mere evening - of course, we know now that
Wolf wrote his songs inspired by populations everywhere holding hands
- to promote future handholding) nor married to one nor Adler Fella
nor Crayola Opera Program alumna nor
Cardiff-VeraRosza-Domingo-GeorgeLondon-RichieTucker-BelleSilverman-Albanese-Horne-Scotto-vonStade-Heggie
groupie nor traveler along the Anglo Silk Road --- the
LandOfOz-BerlinStaatsoperUDL-LaMonnaie-ENO-Glyndebourne-NYCO-Glimmerglass-StLouis-SantaFe-SanDiego-DallasO-HoustonGO-FloridaGO-n-such
workshop ghettoes.
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
Enter into the equation the contemptibly stupid (discerning,
discerning) audiences who (wanted to and still do) believe everything
they read...and voilà, the science gives the (false)
i-m-p-r-e-s-s-i-o-n  of yielding the expected (forced) hubris. Then
add the ones who stayed away from attending these artists'
performances because they were simply told to do so (in so many
words). Never mind the  c-o-w-a-r-d-s  who  n-e-v-e-r  attended but
who later saw fit to publish obituaries passing for legitimate
eyewitness reports (see "Maestros of the Pen: A History of Classical
Music Criticism in
America", 1998, by Mark N. Grant, and look up "Dyer, Richard"). Never
mind the  h-y-p-o-c-r-i-t-e-s  who, in addition to prematurely and
irresponsibly issuing death certificates (see "Davis, Peter G."),
years later were caught with their pants down performing auto-erotica
to the tune of "Returns Triumphantly!" (see "Davis, Peter G."). Little
wonder many ceased listening --- and begin listening with others' ears
they did.  But leave it to the bloodless (and if you don't have blood
you don't need a heart and if you don't have blood you will find
yourself thirsty, very thirsty, guaranteed) - it is in fact their
exclusive province - to accomplish such feats.
No, they were/are not Maria or Renata or Joan or Leonie or Gwyneth and
why should they be? --- Take the particularly complex case of a
fascinatingly complex, yet elemental, yet thoroughly modern, and yet
not, artist (and most private woman), Cheryl Studer --- was/is the
backlash really for l-a-c-k  o-f  q-u-a-l-i-t-y  or  l-a-c-k  o-f
a-r-t-i-s-t-i-c  w-o-r-t-h?  A decade or so later there's a
perceptible sense of panic and fatigue among critics, industry folk,
and fans alike, most
shockingly noticeable within the gated communities of the old and the
jaded, who can be heard loudly cheerleading anyone (and we mean
anyone)....
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[God Willing.]
[Young Ones - Do not be duped by the hollow enthusiasms of the age ---
ever seen a sad clown?]
[But now, oh today....Music and Art....or rather, what passes for
it....and every new product or stage appearance tossed our way by the
Star System we hate to love (certainly a system long preceding but
fatally ran to the ground by the prissiness of political correctness
and the Gestapo tactics of the instinct/thought-control police, in
concert with the 'World Music Congress' - the Rudases, the Jonases,
the Mehtas, the Holenders (whose nose of Middle Eastern provenance is
long and arrogant enough to sniff all the way to Berlin), the Levines,
the Maazels, the Heymanns, the self-professed rap-music fan von
Dohnanyis (Uncle
must be spinning in his ashes - ladies and gentlemen, more often than
we are led to believe, death CAN be in vain), The Three or Four or
Five or Six or Seven Whores
- we are losing count -, Best Friends & Co. Inc. Ltd. S.A. GmbH - the
Ozawas and the Gergievs too are major shareholders in this "Juderei" -
that's right, jUdErEi - we repeat: all this JuDeReI) - i.e., by
the Star System of Bocelli, of course, or Hampson (now a pretty much
undisputed by-the-book Straussian, Wagnerian  a-n-d ...hear
hear...Verdian...of Stature, don't you know) or the Alagnas (a
f-a-k-e recording of Verdi's -Trovatore- for Sire Tony/EMI --- Grecian
Approximation No. XXV - we have lost count - has not sung Leonora
where it counts, on the stage) or the other Bocelli comrade,
Fleming....well, all of it  h-a-s  sudden Meaning and Necessity, so
the public relationists tell us....the Magic courtesy,  n-o-t  of
especially great voices or exceptional interpretive forces or
personalities or even of remotely
acceptable  n-e-w  music, but of *in good portion and out of
proportion* the promo op-catchpenny that has become 9.11 --- a
monstrous crime monstrously debased by the Infernal Spinning Wheel of
commerce and avarice and revenge and murder (widely disguised as
justice) --- a tragedy now symbiotically hijacked to peddle everything
from Arms Races to Far Right-ism (see "Sharon, Ariel" --- how come we
don't hear strings of consistently shrill High Cs crying for  h-i-s
removal? --- this time, however, we applaud Barenboim for being
practically the only one publicly playing fiddle
on the roof of the problem) to Nationalism to Requiems to
Anglo-Zionist Terrorism --- the latter conducted both musically and
extra-curricularly, most prominently with (critical mass-destruction)
heavy-metal made in the squeaky clean U.S. of A. and paid for with
y-o-u-r  humble American tax dollar (as if you had a choice) and the
blood of  y-o-u-r  sons and daughters. --- So why won't Israel and its
Business/Washington lobbyists fight their next door neighbors, which
includes Iraq, all by themselves and with  t-h-e-i-r  o-w-n  currency
and leave us all  a-l-o-n-e  a-n-d  i-n  p-e-a-c-e?]
[Consequently, would that  t-h-e  o-t-h-e-r  terrorists went home
too.]
[In other words, and in order of relevance...
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
]
[Discuss, if you dare.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[About the new studio-product (this is what we call them fakery, no?)
from EMI
---Idomeneo---, we are beginning to read puff like "a recording that
n-e-e-d-e-d  to be made." --- after all, it
contains the antipodean missionary of all things English, Sire
Charles; British Will o' Wisp Bostridge; Bocelli collaborator
Frittoli; and, to top it all, the New (Age) Callas - the
organically-grown, FDA approved, anodyne, pastel, drab as
damp cardboard, and dull as fishwater LetItRain Hunt(hyphen - I
married a techie with composer pretensions)(Cancer Sob Story)
Lieberson.  But do not for a second believe the ad-men....for this
product is yet more of the ho-hum variety.]
[About the new DECCA ---Cocksucker Blues---, we are already reading
fluff like "A New  F-i-r-s-t  L-a-d-y  of Bel Canto - Renée Fleming
very nearly manages to shake the insistent ghost of Maria Callas."
(see "
www.andante.com
") --- But we (not enough of us) are neither deaf
nor naïve nor stupid. You see, n-e-v-e-r  e-v-e-r  f-o-r-g-e-t  that
sopranos of the calibre of Cheryl and Maria, bruised of voice and
heart or not, n-e-v-e-r  e-v-e-r  s-t-o-o-p-e-d  this low (below the
navel) in the style
department. But, after all, the new product (scooped up 3 years ago)
is being sold under a neon sign that reads "Bel Canto", complete with
a $2 rebate incentive  b-e-l-o-w  its reduced repo artistic sale
value. You know, in the manner of the stereo-typical toupéed and
polyester-clad used-car salesman - insincere, cajoling, slimy,
slippery, sleazy,
sticky -- and that's the singing -- a raw deal.]
Blitzkrieg-style Public Relations, Marketing, and now
Blue-Collar/Working-Class Cheap Labor (and the aesthetics, or lack of,
of - see "Flanigan, Lauren" - see "Slavs") have been summoned to the
cause of salvaging something or other from the debris of these
self-appointed "opera/music lovers'" own making. And so the armies of
businessmen have landed triumphantly with portfolios chock-full with
the truly untriumphant, the amateurs, the pedigree-less, the
unaccomplished, the homogeneous, the vocally faceless, the emaciated,
the pretty, the photogenic, the grotesque too, the church rodents, the
H.I.P.-voiced, the H.I.P.-mannered, the pedigree-less, the correct,
the obedient, the mega amplified, the firefighters, the policemen, the
construction workers, the factory slaves, the custodians, the
industrial quality, the white trash, the divas next door; the divas
next door with the cute children as gimmicks; the divas next door who
are so nice and behave so well and who must reassure us about it; the
divas next door who seek psychotherapy and then have the distaste to
announce it; the divas next door who relax to the Dixie Chicks; the
vedettes next door who love all that jazz and then scat and squat
through  e-v-e-r-y-t-h-i-n-g  that is European  a-n-d  Classical (and
not) --- but then, in music that requires precisely that, the phlegm
gets in the way of that thang called swing; the divas next door who
thrive on
wrestling, meatloaf, and fish n' chips --- and show it; the divas next
door who marry well, transgenderly; the divas next door who, although
already in their 40s and beyond, must appease us by "taking baby steps
to protect their voices" and who swear that that's why they will still
be
in their prime in extreme old age; the divas next door who swear we
will want to hear them then; the optically challenged, the physically
handicapped, the sob stories, more sob stories, the pedigree-less, the
pedigree-less, the pedigree-less, and yet more of that. And some more
sob stories. And not to be missed: the Teddy Bears (think of - well
not really, since you can't - the cancellations, the vocal troubles,
the gross embarrassments of stunt-ed live programs - everything from
Beg Your Indulgences to Public Regrets to Tosti to Walkouts - by, for
instance, Juan Dieguito Flórez, Domingo, Terfel and Heppner - no
matter - the insulted audiences correspond to their cheating with
tears and Standing Os --- but no surprise here, for it is nothing but
another perversion of our desensitized, demoralized, diseased,
frivolous, diluted, and vulgar days --- f-u-c-k, even Joseito Carreras
became the object of one of these demonstrations - and this in the
enlightened and improved and newly innocent and important again (so it
goes) Salzburg of the summer of two-thousand-and-two-after-christ).
And thus today's so-called "A-List" (really, nothing but a paid
announcement transmitted by the "Ass-ociated Press"), the P®ops, the
Pops, the Popp Clones, the Grümmer Clones, the Callas Clones, the
Tebaldi Clones, the Steber Clones, the Schwarzkopf Clones, the Price
Clones, the Cut n' Paste Composites, the Fischer-Dieskau Clones ---
poor, pitiful facsimiles  a-l-l ---, the Little Names, the Wannabes,
the Crossover Hustlers, the Bubblegum, the New Age Mongrels, the
Postmoderns, the Postmortems, the Multiculturalists, the Community
Outreachers, the Soundbites, the Marketing Love Couples/Traumpaars,
the Divine, the Fabulous, the Delicious, and the Little Labels That
Could all have it relatively easy in comparison to that preceding
generation. And the critical standards --- what standards? - whose?
--- have reformed, or rather, have doubled and tripled and....But
injury is often prone to insult. Hell, standards have liquidized and
then evaporated vis a vis the new generation. It is no longer Sound
Music
Criticism or Analysis but Lowest-Common-Denominator Public Relations
Spin [and worse: the fixation with that elusive something known as
---technique--- technique and organization and perfection as ends in
themselves: music-making as athletic match: missing the forest for the
trees --- but this is another angle for another day]. So much so that
it has become strangely and suddenly  K-o-s-h-e-r  once more (Jesus!,
how many more times are we going to hear about market
over-saturation?) to make records (remember when you and I were
advised to swiftly  r-e-j-e-c-t, wholesale, them records [or
anything, for that matter] by or with Cheryl Studer becuz they were
everything from digital to illusion to un-necessary to in-competent to
im-personal to contrived to in-experienced to un-felt to
perfect to dull to null to this to that to that to this - beautiful
even? --- you know, the toxic byproduct of uncontained Kapitalismus -
the same Kapitalismus that gave us such goodies as Meyerbeer,
penicillin, opera glasses, the megaphone, the horn, the microphone,
the photograph, the ("fideistic") Mapleson cylinders, the phonograph,
the light bulb, animated pictures, the telegraph, the typewriter,
carbon paper, the telephone, the clock, the metronome, the radio, the
television, faster trains, the automobile, the jet plane, robots,
rockets, missiles, bombs, Star Wars, frying bacon, monaural sound,
analog tech, reel-to-reels, 8-tracks, the cassette, the LP, stereo
sound, surround sound, faxes, overnight mail, the (unfortunate and
devastating to the testimonials of a vast majority of contemporary
artists) digital tech, the PC, laptops, lapdogs, the CD, the walkman,
the minidisc, the CD-ROM, the famous (pitch re-engineered) Richter
CD-ROMs, the (disgracefully influential,
sound-engineering-bag-of-tricks-wise) DECCA/Solti Ring, naXos,
andante.com
, 12,000 other music websites, the pirates, special
effects, the VHS, HTML, the WWW, Apples, TV dinners, Windows, the cell
phone, the LD, the DVD, MP3s, Opera In The Original (that's English to
you,
naturally and perennially), CNN operas, Vilar titles, Vilar
entitlements, multitasking, micromanaging, acoustically enhanced opera
houses and concert halls, euphemisms, virtual reality, cloning,
artificial intelligence, Callas martyrs, Caruso, Ponselle, Callas,
more Callas, Flagstad, Nilsson, more EMI Callas
re-re-re-re-re-releases, yet more Sony Glenn Gould
re-re-re-re-re-compilations, etc. - and of course, the same
Kapitalismus that has transmitted the Oh So Long Anticipated, Oh So
Extensive, Oh So Very Important --- and, at last!, Oh So Necessary ---
recorded statements from, for example and randomly, Renée, Aprile
[these days reduced - or is it enhanced? - to croon opposite Danny Boy
The 9.11 NYPD Singin' Cop, pathetically], Alessandra, "Marilyn Monroe
Purr" Debbie (see "Ross, Alex") - (a  f-a-k-e  recording of R.
Strauss' -Friedenstag- for Sinopoli/DGG --- "...Deborah Voigt's Maria
[which was in fact dubbed in after the recording was completed, after
the original soprano had dropped out]...." -'Fanfare', Sep/Oct 2002,
p. 214), Cathy, Kathy, Jane, Ruthie Ann, "Veteran Wagnerian" Karita
(see
"Tommasini, Anthony") - (a  f-a-k-e  recording of Schoenberg's
-Gurrelieder- for Sire Simon/EMI -
http://andante.com/magazine/article.cfm?id=17979
), Violeta, Waltraud -
and much much more) ----- for naXos, Rare Opera,
Mom & Pop, even for Lucifer Classics.  No matter.
[But......we are afraid it's  t-o-o  l-a-t-e  --- because the
registers, they ain't ringin' (and all too often, we regret to
announce, not just the cash ones).]
3C. How exactly is naXos alleviating the crisis of overcrowding and
confusion among consumers? In opera titles alone, they have recorded
yet  a-n-e-w:  Boheme, Fidelio, Butterfly, Tosca, Flying Dutchman,
Barber of
Seville, Aida, Rigoletto, Magic Flute, and on and on and on. Correct
us if we are wrong but these bread and butter works were not lacking
in existing documentation, whether historical or not, hysterical or
not, distinguished or not, low end or not. And the combined sad
efforts from naXos simply do not measure up. Why pay less, then, when
you can get better and more for twice the price?
3D. "Oh but it does mean something, it does", we say. So the "average
music lover" has become the barometer of quality and relevance? Indeed
they don't deserve Muti, Abbado, or Chailly (however much they deserve
the three-minute-aria-cum-top-ten-hit). And is the Hulun Hu Tympany
Orchestra really better than Amsterdam, Dresden, Berlin or Vienna?
(although, truth be told, too many of us have heard the Vienna, for
one, play and sound like a colony of monkeys under the stick shift of
a colonized but loyal to the crown, and thus celebrated, Indian
cabbie).
3E. And Cheryl Studer, she's not one of the unwashed, is she? Were
they her contemporaries, would Mr. Heiman have singled out Callas,
Tebaldi, Sutherland, or Caballé, to name but a few, in this manner?
After all, they were/are *Daughters Of Lucifer*, to our benefit.
Presumably naXos treats its "illustrious" roster with more dignity,
respect, and vocal support. Speaking of vocal support, perhaps the
crafty (and reptilian) Mr. Heiman is unaware that *his own* Floria
Tosca (Madame Nelly Miri-a-e-i-o-u --- "más sabe el burro que tú")
reportedly bombed in the same role in Orange, France in the year 2000
a-n-d  as Norma at the ROH, London, also in 2000. However, the Tosca
and Norma catastrophes strangely failed to make a dent in the armory
of the "cognoscenti" and their media spokespeople. And it is not so
widely known that Madame M has encountered more stage catastrophes
since then. For those not "in the know", Madame M is said to be the
Bastard Child of the Incestuous Union of the Twins Callas and Heiman,
now all grown and matured into a very 'Rare Opera' singer complete
with numerous fancifully edited recordings to her name. No matter.
4. Many of us have heard naXos' Caruso edition (not that the
long-deceased tenor is remotely a Heiman discovery/original). We
wonder what Mr. Heiman's authoritative producers and editors (and his
Public Relationists) would have made of the great man today for
violating at least a couple of standards of sound conduct:
throat-clearing smack in the middle of a take and a glaring false
entry at the beginning of another? And what of the poor pianist?
Good God.
----------------------------
Considering the Great Collapse of new opera recordings on Compact
Disc from the Universal Classics family of labels (DGG, DECCA,
Philips)....and now apparently EMI Classics too....let us take a long
and hard (just as you like it, in fact) look at the following
inventory ---
* Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
Marin, Lucifer Classics
* Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
Gardiner, Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado,
Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado,
Lucifer Classics VHS
* Title role in Rossini's Semiramide, rec 7/92, London SO, Marin,
Lucifer Classics
* Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of Europe,
Abbado, Lucifer Classics
* Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
Sinopoli, Lucifer Classics
* Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine,
Lucifer Classics
* Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
Levine, Lucifer Classics
* Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung,
Lucifer Classics
* Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli,
Lucifer Classics
* Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
Berlin, Sinopoli, Lucifer Classics
* Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
Levine, Lucifer Classics
* Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano,
Lucifer Classics
* Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson, Lucifer
Classics
* Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson,
Lucifer Classics
* Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti,
Lucifer Classics
* Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
Symphony, Weil, Lucifer Classics
* Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
Marriner, Lucifer Classics
* Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
Staatskapelle, Tate, Lucifer Classics
* Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
Abbado, Lucifer Classics
* Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht,
Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
Sawallisch, Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado,
Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
RSO, Sawallisch, Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
Solti, Lucifer Classics
* Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes,
Lucifer Classics
* Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti, Lucifer
Classics
* Odabella in Verdi's Attila, rec 6/90, La Scala, Muti, Lucifer
Classics Video
* Elena in Verdi's Vespri Siciliani, rec 12/89-1/90, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch,
Lucifer Classics
* Elsa in Wagner's Lohengrin (from Bayreuth), rec 6/90, Bayreuth,
Schneider, Lucifer Classics (also on VHS)
* Elsa in Wagner's Lohengrin (from Vienna), rec '90, Vienna PO,
Abbado, Lucifer Classics VHS & DVD
* Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
Janowski, Lucifer Classics
* Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink,
Lucifer Classics
* Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
Albrecht, Lucifer Classics
* Coloratura Arias by Bellini (Sonnambula/Norma), Verdi
(Traviata/Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini
(Barbiere/Semiramide), rec 4/89, Munich RSO, Ferro, Lucifer Classics
* Mozart Arias
(Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/Clemenza/Cosi), rec
9/89, ASMF, Marriner, Lucifer Classics
* R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli, Lucifer
Classics
* Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate, Lucifer Classics
* Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec 12/93,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado,
Lucifer Classics HS & DVD
* Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
Garden, Barker, Lucifer Classics
* Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/Poulenc/Bernstein/Bruch),
rec 3/91, London SO, Marin, Lucifer Classics
* Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
Quartet,
Lucifer Classics
* Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine, Lucifer
Classics
* Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* Brahms' German Requiem, rec 10/92, Berlin PO, Abbado, Lucifer
Classics
* Schubert Lieder, rec 1/90, Gage, Lucifer Classics
* Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage,
Lucifer Classics
* Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli, Lucifer
Classics
* Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado, Lucifer
Classics
* Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli,
Lucifer Classics
* Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado, Lucifer
Classics
* Verdi's Requiem, rec 6/87, La Scala, Muti, Lucifer Classics
* Verdi's Requiem, rec 11/91, Vienna PO, Abbado, Lucifer Classics
* Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti,
Lucifer Classics
* Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
Society, Oliver, Lucifer Classics
* Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez, Lucifer
Classics
* von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht,
Lucifer Classics
* R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
Creed, Lucifer Classics
"L-A  Ú-L-T-I-M-A..........que ríe, ríe mejor."
Bravissima Cheryl Studer, verlorene Tochter.  Very beautifully and
exquisitely done.  A most wonderful, exemplary, and unforgettable
legacy, a legacy of  e-x-c-e-p-t-i-o-n-a-l  q-u-a-l-i-t-y  a-n-d
d-i-s-t-i-n-c-t-i-o-n --- the work of a consummate artist.  Thank you.
Thank you for Dedication, Seriousness, and Integrity.  Thank you for
remaining True to your self, to the artform, and to  m-u-s-i-c.  Good
Music.  Thank you for a Universe of Sound and Texture and Expression
a-l-l  o-f  y-o-u-r  o-w-n.  Thank you for  g-e-n-e-r-o-s-i-t-y.
Thank you for  H-i-g-h  I-n-d-i-v-i-d-u-a-l-i-t-y.
And thank you too, Universal, EMI and Sony, for having had the
foreskin to recognize and capture genius in our midst (now that these
dinosaurs' [delusional] populist causes, causes palatable to the
Anglocentric and their Axes (oh irony!) Of Love, have caused them to
trim....ouch....their future....for that squeaky clean look and
sound....and potent-ial self-extinction).
----------------------------
And now, a little something to ponder about ---
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
A HARPSICHORD GLISTENS AND TRIUMPHS
You and I, we know the climate is profoundly  d-e-g-e-n-e-r-a-t-e
 when a nobody of a harpsichordist and her twinklin' little instrument
command more respect and accolades and analysis from 'the chosen
people' (The Rake's Progress --
http://www.operajaponica.org/reviews/dvd/rake96dvd.htm
) than those
ass-igned a certain veteran soprano. Consider this shibboleth ---
http://www.operajaponica.org/reviews/dvd/aidaroh94dvd.htm
Verdi: AIDA
Reviewed by Michael Richter, 27 May 2002
Cast: Cheryl Studer (Aida), Luciana d'Intino (Amneris), Dennis O'Neill
(Radames), Alexandru Agache (Amonasro), Robert Lloyd (Ramfis), Mark
Beesley (Il Re), John Marsden (Messenger), Yvonne Barclay
(Sacerdotta), Chorus & Orchestra of the Royal Opera House, Covent
Garden, Sir Edward Downes (conductor). Elijah Moshinsky (director)
Thus spoke our hero:
{{One can now prove that it is possible to make a performance of Aida
dull. Singing and conducting are altogether competent, but the only
elements of this release which enliven the work are those of the
production - and they are more often confusing or distracting than
constructive. Lloyd infuses some life into his character, but Beesley
is both vocally and dramatically subpar. D'Intino has some moments of
expression but they are not those most needed; the opening scene of
Act IV, for example, is flaccid. Studer, O'Neill and Agache sing all
the notes and none of the music. Many points in the score are marked
'a piacere', but the pleasure of the artists appears to be to do
nothing at all. The effect is altogether colorless - a grey and
pointless recitation of one of the most vibrant scores in opera.}}
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
M-U-S-I-C OF THE FUTURE
Berg, Alban / Wozzeck / Marie
Cajkovskij, Pëtr Il'ic / Evgenij Onegin / Tatjana
Mozart, Wolfgang Amadeus / Così fan tutte / Fiordiligi
Mozart, Wolfgang Amadeus / Don Giovanni / Donna Elvira
Puccini, Giacomo / Manon Lescaut / Manon Lescaut
Puccini, Giacomo / Tosca / Tosca
Strauss, Richard / Capriccio / Gräfin
Strauss, Richard / Salome / Salome
Verdi, Giuseppe / Ballo in Maschera, Un / Amelia
Verdi, Giuseppe / Don Carlo / Elisabetta
MORE M-U-S-I-C....REDIVIVUS
Beethoven, Ludwig van / Fidelio / Leonore
Lehár, Franz / Lustige Witwe, Die / Hanna Glawari
Mozart, Wolfgang Amadeus / Idomeneo / Elettra
Mozart, Wolfgang Amadeus / Nozze di Figaro, Le / Contessa d'Almaviva
Strauss, Richard / Elektra / Chrysothemis
Verdi, Giuseppe / Aida / Aida
Verdi, Giuseppe / Otello / Desdemona
Wagner, Richard / Meistersinger von Nürnberg / Eva
AND YET MORE M-U-S-I-C
Strauss, Richard / Arabella / Arabella
Strauss, Richard / Ariadne auf Naxos / Primadonna/Ariadne
Strauss, Richard / Frau ohne Schatten, Die / Kaiserin
Strauss, Richard / Rosenkavalier, Der / Marschallin
Wagner, Richard / fliegende Holländer, Der / Senta
Wagner, Richard / Lohengrin / Elsa von Brabant
Wagner, Richard / Tannhäuser / Elisabeth
Wagner, Richard / Walküre, Die / Sieglinde
----------------------------
"The dangers of life
are infinite
And safety is among them."
--- Goethe


title: non sono un fan di Schoenberg

author: ivano ivano

text:
ma questo pezzo mi aggarba molto:Piano Concert Op.42

1) avete altri pezzi da suggerire, aka quale e' secondo voi il piu' riuscito?
2) cosa consigliate per apprezzarne l'ascolto?(ex focus su un motivo melodico, contrasto bassi alti, l'aspettativa degli altri semitoni che ancora devono essere suonati, come diversi strumenti dialogano etc
3) e' una sorta di snobbismo essere dodecafonico, oppure c'e' davvero del sublime, ma che c'e' bisogno di un po' di educazione al suono?

https://www.youtube.com/watch?v=JEY9lmCZbIc


title: non sono un fan di Schoenberg

author: cdc

text:
Il Wed, 02 Nov 2016 05:19:20 -0700, ivano ivano ha scritto:

> ma questo pezzo mi aggarba molto:Piano Concert Op.42
>
> 1) avete altri pezzi da suggerire

Variazioni per orchestra op.31, del 1929.
Vero e proprio trattato di dodecafonia messo in pratica.
Capolavoro assoluto di tutti i tempi. Alta densita' di pensiero.
Tappa di studio obbligata per qualsiasi compositore, ascolto fondamentale
per chiunque si interessi di musica.

> e' una sorta di snobbismo essere dodecafonico?

E' come chiedersi se e' snobistico interessarsi di cinema muto.
Per un uomo di cultura e' semplicemente imprescindibile occuparsene.


title: non sono un fan di Schoenberg

author: Teomondo

text:
ivano ivano <
ndrocchie...@gmail.com
> wrote:
> ma questo pezzo mi aggarba molto:Piano Concert Op.42
>
> 1) avete altri pezzi da suggerire, aka quale e' secondo voi il piu' riuscito?

Io ti consiglio la Suite op.25, ottimo equilibrio
tra tecnica e ispirazione .
Cerca quella di Pollini

--
Teomondo Scrofalo

Era un mondo adulto, si sbagliava da professionisti


title: non sono un fan di Schoenberg

author: lzy

text:
Il giorno mercoledì 2 novembre 2016 20:59:09 UTC+1, Teomondo ha scritto:
>
>
> Io ti consiglio la Suite op.25

Pierrot Lunaire
il film con la Christine Schäfer
http://mediateca.musicadecamara.com.es/?p=23


title: non sono un fan di Schoenberg

author: Archaeopteryx

text:
> 1) avete altri pezzi da suggerire, aka quale e' secondo
> voi il piu' riuscito?

Verklaerte Nacht e Pelléas et Mélisande, li adoro proprio
perché si sente vicina la svolta ma il linguaggio è ancora
ancorato alla tonalità quindi apprezzabile anche col cuore
oltre che col cervello (beninteso parlo per me, sono
sicuro che esistano persone che con Pierrot Lunaire
provano lo stesso che provo io con una fuga di Bach).

Arnoldo è uno dei non pochi musicisti che adoro quando non
è esattamente (o ancora diventato) veramente sé stesso; i
pezzi di cui sopra sono un po' come le Folksongs di Berio
o Pulcinella di Stravizio anche se in inversione
cronologica, per così dire..

--
- Il posto più strano dove hai fatto sesso?
- Sulla lavatrice
- Non è molto strano
- Era esposta da Trony


title: non sono un fan di Schoenberg

text:
siete dei grandi, ma diamine da quanto scrivete in questo gruppo, vi trovo sempre qua, eh eh la classica e' per sempre, pure io esco ed entro, ci sta ancora marcelli che era bravo ed il liutaio non ricordo chi era.

cmq detto inter nos, il super trollo era un'amante di schoenberg

procedo agli ascolti and come back to you.

Bello il paragone del film muto, cmq dopo schoenberg questa mi sembra una musichetta da film di sanremo in quanto a tonale orecchiabile :) davvero un piccolo capolavoro che vi raccomando se vi piace il jazz

https://www.youtube.com/watch?v=D7zfBuJtsfM


title: non sono un fan di Schoenberg

author: Marco Marcelli

text:
ivano ivano ha scritto:

>
https://www.youtube.com/watch?v=JEY9lmCZbIc

Avrebbe dovuto mandare a nanna il gatto, anziche' permettergli di
correre sulla tastiera del pianoforte...:-))

--

Marco Marcelli

---
Questa e-mail è stata controllata per individuare virus con Avast antivirus.
https://www.avast.com/antivirus


title: non sono un fan di Schoenberg

text:
Il giorno mercoledì 2 novembre 2016 22:41:50 UTC+1, ivano ivano ha scritto:
>
> cmq detto inter nos, il super trollo era un'amante di schoenberg
>

trinibab che riposa in pene
ha partorito un trinibaby
ma un caprone se l'è tribbato
povero trinibab trinibabbato


title: non sono un fan di Schoenberg

text:
> trinibab che riposa in pene ha partorito un trinibaby
> ma un caprone se l'Ãš tribbato povero trinibab
> trinibabbato

Non c'è molto sesso in tutto questo, torna immediatamente
a studiare, applicati e poi vedremo come va :D



title: non sono un fan di Schoenberg

text:
Il giorno giovedì 3 novembre 2016 08:39:21 UTC+1, Archaeopteryx ha scritto:
> > trinibab che riposa in pene ha partorito un trinibaby
> > ma un caprone se l'Ãš tribbato povero trinibab
> > trinibabbato
>
>
> Non c'è molto sesso in tutto questo, torna immediatamente
> a studiare

cercavo di emulare Lewis Carroll con
una filastrocca in memoriam tibidabo

quanto al sesso
sto entrando nella fase
asessuale

non sei al corrente delle nuove teorie?
pare la musica barocca sia tra le preferite
dalle "comunità asessuali"

e non c'è da stupirsi dato che salvo casi particolari
col barocco puoi trascorrere centinaia di ore
in totale rilassatezza dei sensi

da qui alcuni esperimenti per smascherare tali teorie:
se sei asessuale (teoria sull'orientamento sessuale)
non dovresti rifuggire la musica romantica e neppure
la seconda scuola di Vienna...

chi teme la musica teme sé stesso
cmq interessante

dunque vado a studiare


title: non sono un fan di Schoenberg

author: Acremone

text:
On 03/11/2016 11:00, lzy wrote:
> non sei al corrente delle nuove teorie?
> pare la musica barocca sia tra le preferite
> dalle "comunità asessuali"

La concupiscenza, specie se sregolata, inquina l'anima fino a
condannarla alla dannazione eterna.
<
https://www.youtube.com/watch?v=F2czp-K4vJU&feature=youtu.be&t=4088
>


title: non sono un fan di Schoenberg

author: ndrocchietto cattomassocomunista

text:
so far sto stuck su Variazioni per orchestra op.31
e sono abbastanza appetitose per essere dodecafoniche

ndrocchietto sono un cattomassocomunista liberale a favore delle minoranze e delle maggiorate


title: non sono un fan di Schoenberg

text:
Ragazzi
scusate per l ivano ivano, ecco il mio vecchio nome back

c'e' un pezzo di schoenberg che non sembra dodecafonico ed e' una figata pazzesca, sembra dedicato ad una palude di un film horror
https://www.youtube.com/watch?v=-2SvMeyeOgQ&spfreload=5

Arnold Schönberg: Pélleas und Melisande op.5 (1903)

ndrocchietto sono un cattomassocomunista liberale attento alle minoranze ed alle maggiorate


title: non sono un fan di Schoenberg

text:
Il giorno giovedì 3 novembre 2016 15:18:29 UTC+1, ndrocchietto cattomassocomunista ha scritto:
> Ragazzi
> scusate per l ivano ivano, ecco il mio vecchio nome back
>

ricordo; anche se dieci anni fa ero ancora


title: non sono un fan di Schoenberg

text:
> c'e' un pezzo di schoenberg che non sembra dodecafonico
> ed e' una figata pazzesca, sembra dedicato ad una
> palude di un film horror
>
https://www.youtube.com/watch?v=-2SvMeyeOgQ&spfreload=5

>
>Arnold SchÃ¶nberg: PÃ©lleas und Melisande op.5 (1903)

In effetti l'avevo detto che è figo...



title: non sono un fan di Schoenberg

text:
         Archaeopteryx said
> In effetti l'avevo detto che è figo...

hai ragione, e che ho preso i suggerimenti in modo sequenziale, quindi mi sono fermato al primo suggerimento dato, e potrebbe volerci un mese, e poi per caso, youtube ha portato questo Pelleas e Melisande che mi ha conquistato al primo ascolto, e che la dice lunga sull'abilita' di Schoenberg. Vedete.. o meglio sentite, un picasso dimostra prima che sa dipingere, e poi fa la scelta di scomunicare l'arte, cosi fa Schoenberg, sono anni difficili, anni di prima guerra mondiale, c'e' poco da ridere e l'artista interpreta la realta' e mostra come si possa avere stati mistici di quiete infinita mescolati dalle interruzioni, dalle bombe, dai pianti, o meglio ancora dal terrore che assale i momenti di calma.
Siamo lontani dalla caligine dissonante del preludio del fauno dell'apres midi che si apre strada nella nebbia con le dissonanze, che lo fanno navigare in modo magnificente qualche decennio prima,siamo in una dimensione di disturbo, dove come imo bene e' stato detto in una discussione precedente al gruppo, ogni nota ha un equilibrio a se stante, attimi appunto.

Tornando alle variazioni per orchestra 31, avevo bisogno di tempo, prima di passare al tuo suggerimento, il mio amore per la classica e' nato con un cd ricevuto a 28 anni da un dirigente, che diceva che era bello, cosi misi sto k488 (copiato, tarocco, napoletano ma con l'amore di una copertina fatta da chi te lo doppia col pc) di Mozart interpretato da Keith Jarrett(?) dentro lo stereo
ed il primo ascolto era una lagna, una sofferenza(!) poi, il secondo, terzo giorno iniziai a comprendere che l'equilibrio della musica era piu' spostato in avanti, che i motivi ritornano pure dopo ....5 minuti..... cosi mi sono rilassato e mi ha preso... per sempre. Poi ho letto che Jarrett era penoso come interprete di Mozart, ed io non potevo crederci. Poi ho conosciuto la versione di Horowitz, con tanto di DVD in cui ascolta il secondo movimento e diteggia la tridimensionalita' della Musica di quella che tridimensionalmente ti entra nel sangue e nella carne, ti purifica, e lascia via l'estasi ad una nuova nota che ti porta al presente naturale dei geni barocchi

Ricordo che mi diceva il nostro troll, che Schoenberg dovevo lasciarlo passare, farlo andare nell'inconscio, e credo, se ne dia merito, che avesse ragione in questo ( e pure se si bomba la valentina per davvero, che alla zanzara di cruciani appare abbastanza scetatella andante), e ora posso dire di essere felice perche' finalmente lo sento Schoenberg, sento che non e' intellettuale, ma che ha una profondita' che e' connaturata nel suono di per se, direbbe platone mio auton kata aouton, ...per se ed in se
- tekst uit het oorspronkelijke bericht weergeven -


title: non sono un fan di Schoenberg

text:
Op donderdag 3 november 2016 11:00:14 UTC+1 schreef lzy:
- tekst uit het oorspronkelijke bericht weergeven -
breve parentesi,
asessuale is good. ricordo che una volta mi iscrissi in una comunita' asessuale poiche' tutti i piu' grandi filosofi o sono asseusuali o ossessi dal sesso, rientrando nella seconda categoria a tutto tondo, mi iscrissi alla loro chat, che posto paradisiaco, poi confessai un giorno che non ero asessuale e gli asessuali maiali mi cacciarono senza avvisarmi, non potevo piu' loggarmi

gli asessuali amano i gatti, la classica e la cioccolata, sono adorabili.
Pero' alla fine sono uguali a me che sto nell'altro opposto della scala.
ed a volte ho momenti di assessualita' ma durano 10 minuti poi purtroppo il triangolo con la punta in giu' prende possesso della mia mente per altre 23 ore.

La classica mi aiuta non poco a sublimare questa forza in amore, insieme alla meditazione. meditate gente meditate.
il jazz e' sessuale, free jazz in particolare, no influenze bebop blues, la classica barocca e' asessuale ecco perche piace perche' e' amore e non violenza,quale e' il sesso per definizione.


title: non sono un fan di Schoenberg

text:
Il 03/11/2016 22:09,
ivano.m...@gmail.com
 ha scritto:
> Archaeopteryx said
>> In effetti l'avevo detto che Ãš figo...
>
> hai ragione, e che ho preso i suggerimenti in modo
> sequenziale, quindi mi sono fermato al primo
> suggerimento dato, e potrebbe volerci un mese, e poi
> per caso, youtube ha portato questo Pelleas e
> Melisande che mi ha conquistato al primo ascolto, e che
> la dice lunga sull'abilita' di Schoenberg. Vedete.. o
> meglio sentite, un picasso dimostra prima che sa
> dipingere, e poi fa la scelta di scomunicare l'arte,
> cosi fa Schoenberg,

Pensa che Arnoldo per un primo periodo della sua vita, per
alzare qualche corona (o non so che moneta ci fosse dalle
sue parti) suonava nei cabaret. Che io sappia non è
rimasta la minima traccia di questa parentesi della sua
vita; confesso che pagherei per 10 minuti di clip in cui
lo si vede all'opera in quel contesto. Mi accontenterei
anche del solo audio...

Per il resto bella storia, di quelle da film in senso
positivo. Secondo me il tuo è un caso abbastanza raro; più
spesso si nasce con la predisposizione a un certo genere e
(ma non di conseguenza) una maggiore o minore indifferenza
agli altri. Una via di Damasco mozartiana è davvero un
soggetto da letteratura novecentesca ^_^



title: non sono un fan di Schoenberg

text:

Ora che ci penso non sono ancora venuti fuori i
Gurrelieder, a me li fece conoscere il compianto (nel
senso che non posta più qui) Danny Rose, credo che se non
ti sono noti ti faranno impazzire.



title: non sono un fan di Schoenberg

text:
Il giorno venerdì 4 novembre 2016 08:54:59 UTC+1, Archaeopteryx ha scritto:
>
> Ora che ci penso non sono ancora venuti fuori i
> Gurrelieder

neanche Moses und Aron


title: non sono un fan di Schoenberg

text:
>
> neanche Moses und Aron
>

Mh, a sto punto il passo verso pierrot lunaire è molto
breve, confesso che l'Arnoldo di M&A inizia a non essere
il mio genere e M&A non sarebbe uno dei dieci pezzi che
potrei portare con me nella classica isola deserta. Ma
ovviamente è un'opera da conoscere, chi sono io per
sconsigliare alcuncosa? :D

Ah, figa l'idea del barocco asessuato, mi sa che più che
iniziare a preoccuparmi dovrei provare la stessa
sensazione di quando si scopre il colpevole alla fine di
un giallo. Se esistesse un ritratto di origene credo che
lo terrei sul pianoforte al posto del solito Ludovico (che
peraltro non ho, sul piano ci sono solo gli spartiti)



title: non sono un fan di Schoenberg

text:
Op vrijdag 4 november 2016 09:22:52 UTC+1 schreef Archaeopteryx:
> >
> >(...Gurrelieder...)
> >

che paesaggio idilliaco, l'inizio mi porta un po' (lontanamente) nel mondo della pastorale di ludovico, la cosa assurda e' la Gurrelieder puo'essere definita quasi come un proto-new age pezzo imo, e' perfetta per riacquisire la calma dello spirito con gli occhi chiusi sul letto dopo una giornata di duro lavoro Sto Gurrelieder mi fa impazzire hai ragione, prevedo centinaia di ascolti, well done. Inoltre giu' nella pratica sarebbe una sveglia perfetta da mettere sul cellulare per svegliarsi senza bruschi passaggi:) Inoltre quando entra il corale tipo nona di Ludo, ed il ritmo incalza e' un piacere, che perla bravo Oertype!

Pollini come posta Temondo Scrofalo e' vero(scusate se sbaglio le preposizioni, ma parlo un sacco di lingue ultimamente) esalta Schoenberg, lui e' molto attento alla dimensione spirituale delle cose, non dimentichero' mai che disse delle composizioni di Mozart "non sono difficili, il problema e' dargli la dimensione spirituale. Quindi archeosomething vedi bene con Damasco, era un periodo della mia vita molto particolare molto esistenzialmente non materialista, ma astratto e simbolico.

Ultima chicca tornando al Schoenberg, rock:) diciamo, ho trovato sto Walzer op 23 n 5. Il mio collega massimo esperto melomane jazzista dove vivo mi ha dato l'approval pure. sto walzer e' spettacolare assomiglia un po' al piacere disgusto di assaggiare qualcosa di metallico, non so se avete la senzazione quando eravate bambini, secondo me sono gli stessi ricettori, davvero bello


title: non sono un fan di Schoenberg

text:
Il Wed, 02 Nov 2016 05:19:20 -0700, ivano ivano ha scritto:

> avete altri pezzi da suggerire

https://www.youtube.com/watch?v=xf8sqv6Gyz0

Pezzo stupendo per coro a cappella

Friede auf Erden op. 13 (Pace sulla terra), composto nel 1907..
a un certo punto dice: "Pero' rimane la speranza
che il debole non debba cadere in eterno sotto ogni atto omicida."


title: non sono un fan di Schoenberg

text:
Op vrijdag 4 november 2016 12:39:39 UTC+1 schreef cdc:

incredibile ha anche un aspetto mistico, sto schoenberg la sapeva lunga, ed io che fino a pochi giorni fa pensavo fosse un raccomandato


title: non sono un fan di Schoenberg

text:
> incredibile ha anche un aspetto mistico, sto schoenberg la sapeva lunga, ed >io che fino a pochi giorni fa pensavo fosse un raccomandato

incredibile personalita' sulla breve ricerca biografica che ho fatto( senza menate wikipedia) sembra che era una persona molto curiosa, con una ricerca fiolosofica e teologica, mi piacciono molto le sue motivazioni di tornare al giudaesimo dopo la conversione cristiana che oltre per ragioni politiche era dettato a suo dire sulla consapevolezza del fatto che si deve mantenere il proprio destino, se avessi piu' conoscenza musicale sarei curioso di leggere i suoi trattati sull'armonia musicale, anche perche' il numero 12 e' antropologicamente significante.

Infine vedo che la seconda moglie era una  15 ina di anni piu' giovane, tralaltro con una gonna abbastanza corta il che fa dubitare che lo Schoenberg amasse il barocco in quanto ad asessualita'!:)


title: non sono un fan di Schoenberg

author: Arne Saknussem

text:
Archaeopteryx <cor.bonukFANCULOSPAM@libero_NOMAIL_.it> wrote:

> Ora che ci penso non sono ancora venuti fuori i
> Gurrelieder, a me li fece conoscere il compianto (nel
> senso che non posta più qui) Danny Rose, credo che se non
> ti sono noti ti faranno impazzire.

I Gurrelieder sono meravigliosi. Il miglior modo per entrare nel mondo
di Wagner

--
Arne Saknussem


title: non sono un fan di Schoenberg

text:
Il giorno martedì 8 novembre 2016 18:38:25 UTC+1, Arne Saknussem ha scritto:

>
> I Gurrelieder sono meravigliosi. Il miglior modo per entrare nel mondo
> di Wagner
>

Reazionario!


title: La XI di Beethoven al Conservatorio

author: Giuseppe

text:
Vi volevo avvisare che domenica prossima al Conservatorio di Milano
alle  ore11,00 verrà eseguita la IX Sinfonia ( ops...la tonalità: Re
Minore, se no qualcuno mi sgrida dicendo che " non sono raffinato)  di
Beethoven
Per maggiori informazioni ( orchestra- direttore e
solisti)..please....il sito della società del concerto di Milano.
www.soconcerti.it
Per la composizione esatta dell'orchestra....andateci e
contate!!!!!!!!!!!!
:-)
P.S.: Mi raccomando alla composizione numerica del Coro....distinta
in:
Bassi
Baritoni
Tenori
Contralti
Mezzo Soprani
Soprani
( per chi non lo sapesse...i falsettisti qua non ci saranno non
trattandosi del Messiah di Handel)
è gradito conoscere il numero esatto di ogni " voce"..:-))
Munitevi di pallottoliere......e, per non sbagliare....ad ogni
strumento un colore...così come pure ad ogni voce del coro.....( ci
vorrebbe la tavolozza di Vincent ......) ma...vedete voi.
:-))


title: La XI di Beethoven al Conservatorio

text:
"Giuseppe" <
merlin3...@libero.it
> ha scritto nel messaggio
news:X4qCb.186119$e6.69...@twister2.libero.it...

Errata corrige nel titolo del post: laggasi IX e non XI..:-)))


title: La XI di Beethoven al Conservatorio

text:
"Giuseppe" <
merlin3...@libero.it
> ha scritto nel messaggio
news:X4qCb.186119$e6.69...@twister2.libero.it...
> Vi volevo avvisare che domenica prossima al Conservatorio di Milano
> alle  ore11,00 verrà eseguita la IX Sinfonia ( ops...la tonalità: Re
> Minore, se no qualcuno mi sgrida dicendo che " non sono raffinato)  di
> Beethoven
Le note! VOGLIAMO SAPERE TUTTE LE NOTE!!!
;-)
Il Moro


title: La XI di Beethoven al Conservatorio

text:
"Il_Moro" <il.mo...@Minwind.it> ha scritto nel messaggio
news:qOBCb.186888$e6.69...@twister2.libero.it...

Guarda che se insisti compro lo spartito quello in uso " al
Direttore"....e te lo mando :-)))
Spenderò un capitale......:-))
Ma poi.......dopo che le impari ( le note)....me le ripeti una ad
una:-)))
Ciaooooooo
Giuseppe
>


title: La XI di Beethoven al Conservatorio

text:
"Il_Moro" <il.mo...@Minwind.it> ha scritto nel messaggio
news:qOBCb.186888$e6.69...@twister2.libero.it...

Tornando seri ora.....la notizia era comunque vera......si potrebbe
organizzare un'audizione di gruppo per domani...tanto è alle 11.....
Io non conosco nessuno dell'NG......ma vedi tu....
Fatemi sapere se la cosa si può fare...
Potremmo prendere un appuntamento nel cortile del conservatorio per le
10....
Ciao
Giuseppe
P.S. Non so che quello che sto dicendo è usuale in un NG....:-))


title: La XI di Beethoven al Conservatorio

text:
"Giuseppe" <
merlin3...@libero.it
> ha scritto nel messaggio
news:IkDCb.187095$e6.70...@twister2.libero.it...

EC:
( andavo di fretta...era pronto il pranzo)
Leggasi: ..Non so se...
:-)))



title: Colonne sonore (OT?)

author: Giorgio Mazzoldi

text:
Puo' darsi che sia azzardato definire musica classica le colonne
sonore originali di alcuni film: tuttavia a volte mi domando cosa
ne sarebbe dei film di Fellini o di Sergio Leone senza le musiche
di Nino Rota o di Ennio Morricone.
Di Nino Rota ho peraltro sentito ottime composizioni
extra-cinematografiche.
Ciao ciao
--
Pipeone
<* Il numero è la forza dei mediocri. *>


title: Colonne sonore (OT?)

author: Raffaele F. Gallo

text:
Giorgio Mazzoldi wrote:

Caro Giorgio,
ritengo che la tua idea di fondo sia errata, cioé la definizione di
"musica classica". Credo invece che la musica per colonne sonore abbia
una sua propria dignità e fior di autori, anche maggiormente consacrati
al genere "colto" - vedi fra gli altri Shostakovich - In altri, come in
tutti, Morricone e Rota compresi, si può trovare del buono,
dell'eccelente, ma anche del mediocre.
Dobbiamo sforzarci di credere che oggi si componga ancora musica
"classica"? In arte figurativa si direbbe di una produzione tendente
alla maniera, una sorta di anacronistico pittoresco, di bizarria fine a
se stessa.
Hai sentito le composizioni atonali di Morricone? Credo che l'autore le
consideri al primo posto - se non vado errato lo dichiarò in occasione
di una non recentissima edizione di "Musica Nuova Festival" a Senigallia
- se non ha cambiato idea nel frattempo; non penso, tuttavia, che siano
il massimo dell'originalità...
Sai cosa ti dico? La musica, come la vita o le persone, nella sua
diversità, bisogna prenderla per quella che è, se suscita interesse e
curiosità, in qualche modo, farla propria.
Con simpatia. A presto. RAF
--
  ------------------------------------------------------------------------
Raffaele Felice Gallo
Ostra, Italy
http://www.jactus.it
ICQ 82362979
  ------------------------------------------------------------------------
quisquis adest faveat
fruges lustramus et agros


title: Colonne sonore (OT?)

author: Paolo Tramannoni

text:
In article <
39B71373...@jactus.it
>,
rafg...@jactus.it
 wrote:
> Dobbiamo sforzarci di credere che oggi si componga ancora musica
> "classica"? In arte figurativa si direbbe di una produzione tendente
> alla maniera, una sorta di anacronistico pittoresco, di bizarria fine a
> se stessa.
Il paragone è bellissimo. Sto pensando ai ritrattisti della società
bene, quegli oli stucchevoli che tentano di sostituirsi alla fotografia.
Non somigliano, nella loro levigatezza sepolcrale, alla musica
neo-barocca?
> Hai sentito le composizioni atonali di Morricone? Credo che l'autore le
> consideri al primo posto - se non vado errato lo dichiarò in occasione
> di una non recentissima edizione di "Musica Nuova Festival" a Senigallia
> - se non ha cambiato idea nel frattempo; non penso, tuttavia, che siano
> il massimo dell'originalità...
Anche qui, sono d'accordo. Morricone preferisce quel tipo di musica, e
ormai lascia a suo figlo Luca la composizione della musica da film. Ma
il Morricone "colto" non mi sembra aver mai raggiunto i vertici di
inventiva ed efficacia che ha avuto nella musica da film. la sua
cultura, in ogni caso, gli ha permesso di produrre grandi cose nel
cinema: si pensi solo all'idea di ripescare Schütz per la messa di
Mission.
ciao,
paolo
--
Paolo Tramannoni
Porto Recanati, Italy
p.t...@fastnet.it


title: Colonne sonore (OT?)

text:
In article <WmG2Oal=
m7wwUHXFCW...@4ax.com
>,
gi...@inwind.it

wrote:
> Puo' darsi che sia azzardato definire musica classica le colonne
> sonore originali di alcuni film: tuttavia a volte mi domando cosa
> ne sarebbe dei film di Fellini o di Sergio Leone senza le musiche
> di Nino Rota o di Ennio Morricone.
> Di Nino Rota ho peraltro sentito ottime composizioni
> extra-cinematografiche.
L'uno e l'altro, al di fuori della musica da cinema, mi sembrano autori
mediocri. Devo anche dire che mi è capitato, non molti giorni fa, di
vedere La Dolece Vita al cinema, e di aver trovato le musiche spesso
inadeguate. Belli i passi più "intimisti", come il tema ricorrente della
purezza (quello che ascoltiamo, ad esempio, alla fine del film,
sull'immagine di Paoletta che saluta), ma assolutamente legati al loro
tempo i pezzi grandiosi, alla Nuova Scuola Romana (accordoni di quinte e
ottave parallele).
Credo che Rota, in particolare, sia un po' sopravvalutato come
compositore extra-cinematografico. Insomma, anche tra i "conservatori"
c'era di mooooolto meglio.
Comunque, per quanto bella ed evocativa, la musica da film è musica
d'uso. Può vivere da sola? Bohg. Ascolto volentieri, come sottofondo,
parecchia musica da film, ma assistere ad un intero concerto di Brad
Fiedel o Jerry Goldsmith potrebbe risultare letale...
A proposito, mi confermano che Goldsmith, in Alien, ha realmente
saccheggiato la musica contemporanea. E io che pensavo avesse fatto
chissà quali studi sui pezzi per orchestra di Schoenberg, e sul rapporto
tra musica colta e cinema...
p.



title: Colonne sonore (OT?)

text:
Paolo Tramannoni wrote:
> In article <
39B71373...@jactus.it
>,
rafg...@jactus.it
 wrote:
>
> > Dobbiamo sforzarci di credere che oggi si componga ancora musica
> > "classica"? In arte figurativa si direbbe di una produzione tendente
> > alla maniera, una sorta di anacronistico pittoresco, di bizarria fine a
> > se stessa.
>
> Il paragone è bellissimo. Sto pensando ai ritrattisti della società
> bene, quegli oli stucchevoli che tentano di sostituirsi alla fotografia.
> Non somigliano, nella loro levigatezza sepolcrale, alla musica
> neo-barocca?
>
Grazie, Paolo, del tuo pensiero e della tua condivisione.
Hai pensato proprio a qualcosa che supera il kitsch, ai nuovi Trimalchioni;
in primis Capitan Findus, ritratto con le quattordici dentiere equine
spalancate, che fanno il pari con tutta l'arroganza e la cattiva educazione
gridata dai tanti balconi televisivi...
>
> ciao,
> paolo
>
> --
> Paolo Tramannoni
> Porto Recanati, Italy
>
p.t...@fastnet.it
A bon chat, bon rat!
Ciao. RAF
--
  ------------------------------------------------------------------------
Raffaele Felice Gallo
Ostra, Italy
http://www.jactus.it
ICQ 82362979
quisquis adest faveat
fruges lustramus et agros


title: Colonne sonore (OT?)

author: M° Gian Luigi Zampieri

text:
Mi sento in linea con molte Vs.
considerazioni riguardo la posizione di morricone riguardo alla Musica per lo
schermo e per la Sala.

Io ho avuto la fortuna di lavorare
con Lui al Concerto d'inaugurazione del Meeting di Rimini nel '99
dove apparivo come Organista in Orchestra.

Dando una sbirciata alle sue
partiture e ascoltando dall'interno dell'Orchestra la sua Musica sono arrivato
alla conclusione che Morricone ha veramente filtrato l'esperienza di Petrassi
ma....attraverso Pizzetti e Respighi e soprattutto quest'ultimo mi sembra aver
lasciato in lui un segno indelebile nella qualità dell'Orchestrazione e
dell'inventiva tematica.

Rimango sempre perplesso quando
sento lo stesso autore prodursi nella sua parte cosiddetta "colta" dove sembra
rifiutare l'esperienza tonale come fosse quasi disdicevole, consentendo così a
se stesso di riscattarsi moralmente da un peccato, quello tonale, che forse al
giorno d'oggi lui non concepisce più.

Ah, se Morricone non avesse quel
carattere misantropo e se si riuscisse a parlarci forse troveremmo risposte
molto più chiare alle illazioni che anch'io tento di fare.

Comunque rimane indiscutibile che
nonostante la maestria di John Williams, James Horner, Jerry Goldsmith e altri
magnifici compositori americani del momento, Morricone rimane un genio
assolutamente inconfondibile.

Ciao,
Gigi


title: Colonne sonore (OT?)

text:
In article <03eb01c01993$c6ca2f80$b9071597@GianLuigiZAMPIERI>,
gianluig...@libero.it
 (M° Gian Luigi Zampieri) wrote:
> Comunque rimane indiscutibile che nonostante la maestria di John
> Williams, James Horner, Jerry Goldsmith e altri magnifici compositori
> americani del momento, Morricone rimane un genio assolutamente
> inconfondibile.
Perché, John Williams e Jerry Goldsmith compongono ancora? C'č posto
anche per loro, una volta fatti entrare tutti gli assistenti in studio?
p.



title: Colonne sonore (OT?)

text:
Beh anche la Nutella la fa il
signor Ferrero ma, quando non ha abbastanza tempo demanda l'incarico ai fidi
operai pasticeri torinesi: vedo che anche tu sai come funziona nell'ambito della
Musica da film.

Io sono stato assistente di
Francesco De Masi che all'epoca insegnava Orchestra a S.Cecilia e in seguito
Direzione a S.Pietro a Majella: da lui ho imparato moltissimo e l'ho seguito in
sede di registrazione di diversi film alla Forum a Roma.

Pur non avendo la corona munita di
palle come Morricone, De Masi nei suoi mi pare 200 film più serie di documentari
con F.Quilici e altre miriadi di cose ha sempre messo mano da solo senza
mai avvalersi di "negri" o di "assistenti" come ad esempio faceva Carlo
Innocenzi tanti anni fa.

De Masi fu allievo di FERRARA (che
ricorre sempre nei miei scritti) ma soprattutto di Angelo Francesco Lavagnino
orami dimenticato Maestro della Musica da film dei tempi del
neorealismo.

Gente, come Mario Nascimbene, Ezio
Carabella, Bruno Nicolai, Armando Trovajoli ed altri che avevano alle spalle un
Mestiere enorme e conoscevano l'Orchestra in maniera veramente
"intima".

Poi con l'avvento delle tastiere
tutto si è massificato.

Quando qualcuno ha scoperto che
anche qualche ragazzetto aveva imparato a strumentare....sono rinate le botteghe
come in America, appunto.

Gian
Luigi


title: Colonne sonore (OT?)

author: Lucio PERES

text:
On 8 Sep 2000 14:48:27 +0200,
gianluig...@libero.it
 (M° Gian
Luigi Zampieri) wrote:
>Mi sento in linea con molte Vs. considerazioni >>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>
ATT: i tuoi post si estendono in lunghezza oltre lo skermo!
Forse non vai a capo molto spesso o hai impostato un N° di caratteri x
linea spropositato...
LUX


title: Colonne sonore (OT?)

author: Antonio Zampieri

text:
Scusa Lucio non capisco perchè
il testo dei miei post vada fuori dai margini dello schermo: io quando li
rileggo pubblicati li vedo tutti in "giustificato" e incolonnati.

Se sai il perchè ti prego di darmi
istruzioni per migliorare il formato e renderli leggibili
agevolmente.

Ora sono sul PC di mio padre e non so
se sussiste il problema.

Attendo notizie.

Grazie, Gigi
Zampieri


title: Colonne sonore (OT?)

text:
In article <001f01c01a6b$443c4fc0$7bf8d8d4@default>,
ant...@tin.it

("Antonio Zampieri") wrote:
> Scusa Lucio non capisco perchč il testo dei miei post vada fuori dai
> margini dello schermo: io quando li rileggo pubblicati li vedo tutti in
> "giustificato" e incolonnati.
Confermo, qui da me (NewsWatcher Mac) tutto bene.



title: Colonne sonore (OT?)

author: Luca Logi

text:
Ad occhio, il tuo newsreader e' settato per scrivere in HTML. Se scrivi
in formato testo e' piu' facile leggerti - a me arriva una "insalata"
come qui sotto riportato. Il problema sussiste da tutti i PC da dove
scrivi. Eventualmente qualche newsgruppista esperto nelle sataniche
complicazioni di Outlook e di Windows potrebbe dare una mano.
"Antonio Zampieri" <
ant...@tin.it
> wrote:
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_001C_01C01A7C.04B1C540
> Content-Type: text/plain;
>       charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> Scusa Lucio non capisco perch=E8 il testo dei miei post vada fuori dai =
> margini dello schermo: io quando li rileggo pubblicati li vedo tutti in =
> "giustificato" e incolonnati.
> Se sai il perch=E8 ti prego di darmi istruzioni per migliorare il =
> formato e renderli leggibili agevolmente.
> Ora sono sul PC di mio padre e non so se sussiste il problema.
> Attendo notizie.
> Grazie, Gigi Zampieri
>
> ------=_NextPart_000_001C_01C01A7C.04B1C540
> Content-Type: text/html;
>       charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>
> <META content=3D"text/html; charset=3Diso-8859-1" =
> http-equiv=3DContent-Type>
> <META content=3D"MSHTML 5.00.2014.210" name=3DGENERATOR>
>
>
>
>
Scusa Lucio non =
> capisco perch=E8=20
> il testo dei miei post vada fuori dai margini dello schermo: io quando =
> li=20
> rileggo pubblicati li vedo tutti in "giustificato" e =
> incolonnati.

>
Se sai il perch=E8 ti =
> prego di darmi=20
> istruzioni per migliorare il formato e renderli leggibili=20
> agevolmente.

>
Ora sono sul PC di mio =
> padre e non so=20
> se sussiste il problema.

>
Attendo =
> notizie.

>
Grazie, Gigi=20
> Zampieri

>
> ------=_NextPart_000_001C_01C01A7C.04B1C540--
>
>
> --
> Posted from
mta04-acc.tin.it
 [212.216.176.35]
> via Mailgate.ORG Server -
http://www.Mailgate.ORG
--------------------------------------------------------
Luca Logi - Firenze - Italy        e-mail:
ll...@dada.it
   Home page:
http://www.angelfire.com/ar/archivarius
                   (musicologia pratica)