I've just got finished a new string trio and I have to say it's one of my best pieces ever. Even though I'd claimed that #6 was the last one in the series, after buying Sibelius and porting my expert system to Java the new piece just started coming. There's a new massiveness to the piece that I'd like to exploit in coming pieces... :)
BLURB:
The seventh string trio in the series. Driving and intense, this one features simpler more emotional material with an Arabic bent. Tetra-Mnemosyne VII ends with one of my most exciting climaxes to date. The slow sections abound with a halting gesture inspired by middle period Beethoven string quartets.
>I've just got finished a new string trio and I have to say it's one of >my best pieces ever. Even though I'd claimed that #6 was the last >one in the series, after buying Sibelius and porting my expert system >to Java the new piece just started coming. There's a new massiveness >to the piece that I'd like to exploit in coming pieces... :)
>BLURB:
>The seventh string trio in the series. Driving and intense, this one >features simpler more emotional material with an Arabic bent. >Tetra-Mnemosyne VII ends with one of my most exciting climaxes >to date. The slow sections abound with a halting gesture inspired by >middle period Beethoven string quartets.
The score is now available in Adobe Acrobat format for anyone interested. There are also over 20+ other chamber, piano and orchestral scores in this format free for perusal.
b...@visi.com wrote: > On Tue, 27 Mar 2001 14:05:01 -0500, Jeff Harrington <je...@actv.com> > wrote:
> >I've just got finished a new string trio and I have to say it's one of > >my best pieces ever. Even though I'd claimed that #6 was the last > >one in the series, after buying Sibelius and porting my expert system > >to Java the new piece just started coming. There's a new massiveness > >to the piece that I'd like to exploit in coming pieces... :)
> >BLURB:
> >The seventh string trio in the series. Driving and intense, this one > >features simpler more emotional material with an Arabic bent. > >Tetra-Mnemosyne VII ends with one of my most exciting climaxes > >to date. The slow sections abound with a halting gesture inspired by > >middle period Beethoven string quartets.
> I've just got finished a new string trio and I have to say it's one of > my best pieces ever. Even though I'd claimed that #6 was the last > one in the series, after buying Sibelius and porting my expert system > to Java the new piece just started coming. There's a new massiveness > to the piece that I'd like to exploit in coming pieces... :)
> BLURB:
> The seventh string trio in the series. Driving and intense, this one > features simpler more emotional material with an Arabic bent. > Tetra-Mnemosyne VII ends with one of my most exciting climaxes > to date. The slow sections abound with a halting gesture inspired by > middle period Beethoven string quartets.
Jeff, I listened to tetra 7 and thought it was sort of convincing as a classical piece. However, I don't understand the many opening screetch- notes devolving so quickly to a bass reflection. In typical Glass style, these would have continued on long enough to establish rhythm and repitition as the composition mode. In the Beethoven style, the opening would probably have been 4 notes and Then devolved into a bass- reflection. What Tetra sounds like is an unhappy merging of Adams and Glass, and the gimmick is too obvious to be considered an element of original style. I think that what you ought to do is relisten to Jarl's work to hear how far astray you can go by relying on personality, and on other composer's templates. For my string quintet, during which I constantly had the "Rasumovsky" in my mind -- pressuring me to Make A Classical Piece, I had to make 16 complete revisions before I had something which sounded like my own style. "Tetra" just sounds a little too glib.
orangie wrote: > In article <3AC0E45D.F6AFB...@actv.com>, je...@actv.com says... > > I've just got finished a new string trio and I have to say it's one of > > my best pieces ever. Even though I'd claimed that #6 was the last > > one in the series, after buying Sibelius and porting my expert system > > to Java the new piece just started coming. There's a new massiveness > > to the piece that I'd like to exploit in coming pieces... :)
> > BLURB:
> > The seventh string trio in the series. Driving and intense, this one > > features simpler more emotional material with an Arabic bent. > > Tetra-Mnemosyne VII ends with one of my most exciting climaxes > > to date. The slow sections abound with a halting gesture inspired by > > middle period Beethoven string quartets.
> Jeff, I listened to tetra 7 and thought it was sort of convincing as a > classical piece. However, I don't understand the many opening screetch- > notes devolving so quickly to a bass reflection. In typical Glass style, > these would have continued on long enough to establish rhythm and > repitition as the composition mode. In the Beethoven style, the opening > would probably have been 4 notes and Then devolved into a bass- > reflection. What Tetra sounds like is an unhappy merging of Adams and > Glass, and the gimmick is too obvious to be considered an element of > original style. I think that what you ought to do is relisten to Jarl's > work to hear how far astray you can go by relying on personality, and on > other composer's templates. For my string quintet, during which I > constantly had the "Rasumovsky" in my mind -- pressuring me to Make A > Classical Piece, I had to make 16 complete revisions before I had > something which sounded like my own style. "Tetra" just sounds a little > too glib.
> yeah... uh... mike... uh... thanks for your suggestions...
> snicker...
> jeff
> orangie wrote:
> > In article <3AC0E45D.F6AFB...@actv.com>, je...@actv.com says... > > > I've just got finished a new string trio and I have to say it's one of > > > my best pieces ever. Even though I'd claimed that #6 was the last > > > one in the series, after buying Sibelius and porting my expert system > > > to Java the new piece just started coming. There's a new massiveness > > > to the piece that I'd like to exploit in coming pieces... :)
> > > BLURB:
> > > The seventh string trio in the series. Driving and intense, this one > > > features simpler more emotional material with an Arabic bent. > > > Tetra-Mnemosyne VII ends with one of my most exciting climaxes > > > to date. The slow sections abound with a halting gesture inspired by > > > middle period Beethoven string quartets.
> > Jeff, I listened to tetra 7 and thought it was sort of convincing as a > > classical piece. However, I don't understand the many opening screetch- > > notes devolving so quickly to a bass reflection. In typical Glass style, > > these would have continued on long enough to establish rhythm and > > repitition as the composition mode. In the Beethoven style, the opening > > would probably have been 4 notes and Then devolved into a bass- > > reflection. What Tetra sounds like is an unhappy merging of Adams and > > Glass, and the gimmick is too obvious to be considered an element of > > original style. I think that what you ought to do is relisten to Jarl's > > work to hear how far astray you can go by relying on personality, and on > > other composer's templates. For my string quintet, during which I > > constantly had the "Rasumovsky" in my mind -- pressuring me to Make A > > Classical Piece, I had to make 16 complete revisions before I had > > something which sounded like my own style. "Tetra" just sounds a little
Jeff, I really don't think that your Julliard trade-school education is going to cover this. I've been writing music for 40 years, and I certainly know what music should sound like. Yours sounds like forced and incomplete music in this case. You can bully around your little high- school clique mentality towards my word writing style, but your music really has to stand apart from your attitude towards it or me. The quality of your music writing skill is very evident when contrasted with Matt's -- someone who went through a very similar educational experience as yours. To say that this is one of your best pieces might be very honest -- if so, it is the most honest thing you've said about your music.
If you are posting notice of your music to the NG, then you will get responses. What you're doing by your ill-considered response to my post is blocking what might also be said about the good in your music. If you want to be a composer, you have to learn to compose. You either don't have the talent, or else you haven't learnt distance.
Mike, I'm sorry to have gotten off on the wrong foot with you. I appreciate your attention to my music and I welcome your sincerity. Instead of snickering I should have been more honest and posted that I found your comments... let's be kind... uh... god-awful pretentious and laughable. Best of luck in all your musical endeavors and this will be my last comment towards you on this matter.
Feel free, as I'm sure you will, in enjoying the last word.
orangie wrote: > In article <3AC8EE8D.1B456...@actv.com>, je...@actv.com says... > > yeah... uh... mike... uh... thanks for your suggestions...
> > snicker...
> > jeff
> > orangie wrote:
> > > In article <3AC0E45D.F6AFB...@actv.com>, je...@actv.com says... > > > > I've just got finished a new string trio and I have to say it's one of > > > > my best pieces ever. Even though I'd claimed that #6 was the last > > > > one in the series, after buying Sibelius and porting my expert system > > > > to Java the new piece just started coming. There's a new massiveness > > > > to the piece that I'd like to exploit in coming pieces... :)
> > > > BLURB:
> > > > The seventh string trio in the series. Driving and intense, this one > > > > features simpler more emotional material with an Arabic bent. > > > > Tetra-Mnemosyne VII ends with one of my most exciting climaxes > > > > to date. The slow sections abound with a halting gesture inspired by > > > > middle period Beethoven string quartets.
> > > Jeff, I listened to tetra 7 and thought it was sort of convincing as a > > > classical piece. However, I don't understand the many opening screetch- > > > notes devolving so quickly to a bass reflection. In typical Glass style, > > > these would have continued on long enough to establish rhythm and > > > repitition as the composition mode. In the Beethoven style, the opening > > > would probably have been 4 notes and Then devolved into a bass- > > > reflection. What Tetra sounds like is an unhappy merging of Adams and > > > Glass, and the gimmick is too obvious to be considered an element of > > > original style. I think that what you ought to do is relisten to Jarl's > > > work to hear how far astray you can go by relying on personality, and on > > > other composer's templates. For my string quintet, during which I > > > constantly had the "Rasumovsky" in my mind -- pressuring me to Make A > > > Classical Piece, I had to make 16 complete revisions before I had > > > something which sounded like my own style. "Tetra" just sounds a little
> Jeff, I really don't think that your Julliard trade-school education is > going to cover this. I've been writing music for 40 years, and I > certainly know what music should sound like. Yours sounds like forced and > incomplete music in this case. You can bully around your little high- > school clique mentality towards my word writing style, but your music > really has to stand apart from your attitude towards it or me. The > quality of your music writing skill is very evident when contrasted with > Matt's -- someone who went through a very similar educational experience > as yours. To say that this is one of your best pieces might be very > honest -- if so, it is the most honest thing you've said about your > music.
> If you are posting notice of your music to the NG, then you will get > responses. What you're doing by your ill-considered response to my post > is blocking what might also be said about the good in your music. If you > want to be a composer, you have to learn to compose. You either don't > have the talent, or else you haven't learnt distance.
In article <3AC8F79C.3CC6C...@actv.com>, je...@actv.com says...
> Mike, I'm sorry to have gotten off on the wrong foot with you. I appreciate your > attention to my music and I welcome your sincerity. Instead of snickering I > should have been more honest and posted that I found your comments... let's be > kind... uh... god-awful pretentious and laughable. Best of luck in all your > musical endeavors and this will be my last comment towards you on this matter. > Feel free, as I'm sure you will, in enjoying the last word.
I don't really like "last word", because it implies a little game played by little boys. Little boy games are usually one-move games. I wonder why this person wasn't able to understand talking about music as though it were a real thing? an artform? Why, then, would he crosspost his announcements to all these fuzzy-art groups? Is it because he's learnt a kind of music engineer mentality? One which allows simple representation? How does he think of music? As something that we hear or as something written? Should there be a difference? For a composer's music, I would want to hear continuity between notes and a meaningful combination of notes. Is it that he feels that any work he puts into the piece shows that he intends meaning? Since Stockhausen, we've all known how to write in the modernist piano genre. But the writing of string quartet takes a different kind of concentration, don't you think? It's obviously not enough just to surprise the audience anymore -- Xenakis and Varese showed how empty that kind of gesture can be for a structured music. But, what is a structured music to a person like Mr. Hurryton? A romantic connection between literature and a cool title? (But, we're all guilty of this, and Mr. H'otiston has shown me, at least, the error in giving a classical sounding name to urban musak -- Is there an elevator in the house?)
But, modern-ers don't like to talk about music as an "artform" (well, they haven't much to talk about anyway, except parking and stuff) -- their trade-school education hasn't allowed them them kind of education which would suggest that there is no such thing as direct expression of music. Having been taught to blow and touch correctly, perhaps they feel that performance practice can be translated into composition method? That is not an obvious translation. In the 19th century, the wonderkinds like him bastardized the word "art" into high-culture. Proust radically showed how mistaken that notion can be. "Art" is really the same concept as "create", and art is the product of people who create -- There is no music in Nature, unless you have talent enough to hear it. But, not many trade-school graduates read Proust. And supposing P. was wrong, and Mr. Hushyton is right? That music is whatever it's taught to be? Then, who is the audience for his work? Other taught-o-logical composers? Would they care for each other? Would he bother to listen to his own music if the notes hadn't been stroked by his own, or a friend's, pen? Can we see his inability to respond as a sign of creative fatigue? Or is it an emptyness of principle?
But let's not forget: we're talking about his music, and you have to go hear it yourself to form an opinion. I may be totally wrong about it. In fact, I hope I am. Life would be so much simpler for me if music is just a way to get invited to cocktail parties.
Please snip rec.music.classical.recording from your flame war follow-ups. Thank you.
-- Matthew B. Tepper: WWW, science fiction, classical music, ducks! My personal home page -- http://home.earthlink.net/~oy/index.html My main music page --- http://home.earthlink.net/~oy/berlioz.html To write to me, do for my address what Androcles did for the lion Top 3 worst UK exports: Mad-cow; Hoof-and-mouth; Charlotte Church
In article <3AC915AD.5...@nospam.com>, m...@nospam.com says...
> <<For my string quintet, during which I > > constantly had the "Rasumovsky" in my mind
> You virtual composers sure are modest... but you're drinking the wrong > sort of wine. Now, when I taste wine, I constantly have Beethoven in > mind...
> mrt
This must be an interesting post. I don't suppose you are able to hear music on your own, but you do seem to be able to drink wine. I don't like to drink; I find that alchohol blurs the ability to hear music in my mind. And, from when I was a kid, I had found booze and drugs make me feel that it is they that is creating the music. I wouldn't like to only approach music as a consumer, but I understand that you might not have any other choice.
By "constantly having the Rasumovsky in my mind" I meant, not that I was recreating, or "being" Beethoven, but that that kind of texture was a standard against which I had to write; that my writing had to be as simple and as various as his writing. I'm not really sure what your post means, but I suppose it to be something about "self-consciousness" -- but self-consciousness misunderstood as "conceit".
In article <MPG.1532d32dee5724e6989...@news.flashcom.com>, top_cat...@hotmail.com says...
> In article <MPG.1532a4274782ff15989fcd@news-server>, orangiem...@aol.com > says... > > I don't like to drink; I find that alchohol blurs the ability to hear music in my > > mind.
> And with your "mind," that would leave you doubly handicapped--so > whatever became of "This is my last post to this group?" Promises, > promises...
> T.C.
It's an automatic cross post response to Herrington's spam, mr. puddy- tat. The high level of discourse that you maintain in rec.music.classic is way beyond my skills. I don't know anything about sports, so I'd no choice but to leave all soul for one mind.
>It's an automatic cross post response to Herrington's spam,
Sorry Jeff Harrington's [no relation to John] announcement is *not* spam; his Tetra-Mnemosyne pieces kicks ass [thanks Jeff!]; and back when he was a regular, his posts were a lot more interesting and astute than your "creative" writing "experiments." Now run along before I put you in my juicer.
Usenet TROLLS who have had their ass kicked: John E Harrington AKA "jbayer34" 4/2/01
In article <MPG.1532c354802430ec989fce@news-server>, orangiem...@aol.com says...
> I don't know anything about sports, so I'd no > choice but to leave all soul for one mind.
> mike
And I don't know anything about writing such completely nonsensical, meaningless "English prose" as that example. Of course you don't need liquor or drugs, Orange Pulpie--you're high on brain damage.
> orangie says... > >It's an automatic cross post response to Herrington's spam,
> Sorry Jeff Harrington's [no relation to John] announcement is *not* spam; his > Tetra-Mnemosyne pieces kicks ass [thanks Jeff!]; and back when he was a regular, > his posts were a lot more interesting and astute than your "creative" writing > "experiments." Now run along before I put you in my juicer.
> Usenet TROLLS who have had their ass kicked: > John E Harrington AKA "jbayer34" 4/2/01
I don't think that you are focused enough on music to really have a public conversation with you in a newsgroup like this. Certainly you have very little writing skill, but if you'd like to explore the concept of music with me, why not move over to rec.compose? Or, you can e-mail me directly.
In article <MPG.1532f29ffb512401989...@news.flashcom.com>, top_cat...@hotmail.com says...
> In article <MPG.1532c354802430ec989fce@news-server>, orangiem...@aol.com > says... > > I don't know anything about sports, so I'd no > > choice but to leave all soul for one mind.
> > mike
> And I don't know anything about writing such completely nonsensical, > meaningless "English prose" as that example. Of course you don't need > liquor or drugs, Orange Pulpie--you're high on brain damage.
> T.C.
If you'd like to do more than just bring the rest of us down to your level, why not move it to rec.compose? This gourmet music group isn't really the place to talk about the way music is put together. The crowd always get's sick when we start using the circular saw. Or, why not just e-mail me direct?
> In article <MPG.1532f29ffb512401989...@news.flashcom.com>, > top_cat...@hotmail.com says... >> In article <MPG.1532c354802430ec989fce@news-server>, orangiem...@aol.com >> says... >>> I don't know anything about sports, so I'd no >>> choice but to leave all soul for one mind.
>>> mike
>> And I don't know anything about writing such completely nonsensical, >> meaningless "English prose" as that example. Of course you don't need >> liquor or drugs, Orange Pulpie--you're high on brain damage.
>> T.C.
> If you'd like to do more than just bring the rest of us down to your > level, why not move it to rec.compose? This gourmet music group isn't > really the place to talk about the way music is put together. The crowd > always get's sick when we start using the circular saw. Or, why not just > e-mail me direct?
Remember when he said he'd never darken our doorway again? But here he is again, raised from the dead, with 50 posts in one day.
in article bdcy6.299$jz.23...@www.newsranger.com, Myron Stackpool at Myron_mem...@newsranger.com wrote on 4/2/01 9:21 PM: <snip>
> Usenet TROLLS who have had their ass kicked: > John E Harrington AKA "jbayer34" 4/2/01
Deluded limey gits who have been throroughly SPANKED in ingominy on usenet, and who stand there bleeding and claiming they "always triumph": Myron Stackpool AKA "Myron member" 4/3/01
|
