Tasmin Little and Ligeti's Violin Concerto (NYT)
XYZ XYZ
http://www.nytimes.com/2003/11/09/arts/music/09WHIT.html
I'm looking forward to the actual concert this Wednesday -- the technical
innovations sound fascinating too (Little's husband has built a device
with an electronic score that Little can page forward and backward by
stepping on pads).
Quote:
Ms. Little first played it with Sir Simon conducting the City of Birmingham
Symphony Orchestra.
"We got to the end of the first movement, which is a 4-minute marathon that
feels like 20, and Simon and I just looked at each other and sighed
with relief that we'd made it through," she says. "The end is crazy, too,
because it finishes with a solo cadenza that Ligeti expects you to write
yourself, which I've done. It leaves the piece in the soloist's hands except
for a sudden orchestral cutoff, where the conductor more or less says:
`Right. That's quite enough of that. Goodbye.'
Phil Wood
> I'm looking forward to the actual concert this Wednesday -- the technical
> innovations sound fascinating too (Little's husband has built a device
> with an electronic score that Little can page forward and backward by
> stepping on pads).
I have often wondered why such a device is not commonplace - saving all
those awkward page turning moments.
> Quote:
>
> Ms. Little first played it with Sir Simon conducting the City of
Birmingham
> Symphony Orchestra.
She played it at the Proms this year with Rattle and the BPO - it was
excellent.
Phil
Clovis Lark
>> I'm looking forward to the actual concert this Wednesday -- the technical
>> innovations sound fascinating too (Little's husband has built a device
>> with an electronic score that Little can page forward and backward by
>> stepping on pads).
> I have often wondered why such a device is not commonplace - saving all
> those awkward page turning moments.
Because there are way too many logistical problem on stage:
1 Until recently, the stage had to be wired and stand were not mobile,
meaning the stage could not be reset for different works
2 Power and source problems brought concerts to a halt. Harry Connick's
backup band was victim of this
3 Screens simply do not have the resolution of hard copy, especially under
stage lighting
4 Cost for both orchestra and individual's home practice too high.
Phil Wood
"Clovis Lark" <cl...@steel.ucs.indiana.edu> wrote in message
news:boom87$ii7$3...@hood.uits.indiana.edu...
> Phil Wood <NoSpam...@myplace.org.uk> wrote:
>
> >> I'm looking forward to the actual concert this Wednesday -- the
technical
> >> innovations sound fascinating too (Little's husband has built a device
> >> with an electronic score that Little can page forward and backward by
> >> stepping on pads).
>
> > I have often wondered why such a device is not commonplace - saving all
> > those awkward page turning moments.
>
> Because there are way too many logistical problem on stage:
>
> 1 Until recently, the stage had to be wired and stand were not mobile,
> meaning the stage could not be reset for different works
Presumably not an issue nowadays.
> 2 Power and source problems brought concerts to a halt. Harry Connick's
> backup band was victim of this
>
> 3 Screens simply do not have the resolution of hard copy, especially under
> stage lighting
I had wondered if this was the issue.
> 4 Cost for both orchestra and individual's home practice too high.
Good point, thanks for the reply.
To raise another issue - how do publisher's charge in this instance - can
you buy sets of parts in the same way as you do on paper?
Phil
Clovis Lark
> "Clovis Lark" <cl...@steel.ucs.indiana.edu> wrote in message
> news:boom87$ii7$3...@hood.uits.indiana.edu...
>> Phil Wood <NoSpam...@myplace.org.uk> wrote:
>>
>> >> I'm looking forward to the actual concert this Wednesday -- the
> technical
>> >> innovations sound fascinating too (Little's husband has built a device
>> >> with an electronic score that Little can page forward and backward by
>> >> stepping on pads).
>>
>> > I have often wondered why such a device is not commonplace - saving all
>> > those awkward page turning moments.
>>
>> Because there are way too many logistical problem on stage:
>>
>> 1 Until recently, the stage had to be wired and stand were not mobile,
>> meaning the stage could not be reset for different works
> Presumably not an issue nowadays.
Presumably... There at least 5 different systems I've been asked to look
at. None have all the performance contingencies worked out.
>> 2 Power and source problems brought concerts to a halt. Harry Connick's
>> backup band was victim of this
>>
>> 3 Screens simply do not have the resolution of hard copy, especially under
>> stage lighting
> I had wondered if this was the issue.
Pierre Boulez put it this way to me when we discussed it in NYC a couple
months ago: Your interface with the technology is the human eye. That is
the link that cannot be improved upon. Excessive eye strain is going to be
the number one hurdle, whether it by the resolution of images, or their
visibility under glaring lights.
>> 4 Cost for both orchestra and individual's home practice
too high.
> Good point, thanks for the reply.
> To raise another issue - how do publisher's charge in this instance - can
> you buy sets of parts in the same way as you do on paper?
Obviously, in Connick's case, where he's the publisher/performer, he's
using a whole setup loaded with his own copyrighted material. How might
Boosey and Hawkes or Universal handle this? There is some talk of CD-ROm
replacing preprinted music, but it isn't being seriously pursued. I
presume that the best early applications will be with public domain works.
> Phil
Matthew B. Tepper
following letters to be typed in news:boon1i$vsu$1...@news8.svr.pol.co.uk:
I'm sure we've all read the story of Beethoven semi-improvising from some
sketches in public, and flailing his hands about so much that it upset the
boy holding the candle....
--
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
War is Peace. ** Freedom is Slavery. ** It's all Napster's Fault!
Phil Wood
Much of the advantage would be lost if you cannot present the entire concert
on the gizmo - restricting use to public domain would be incredibly
limiting. Mind you scanning a paper score into the device would come under
"fair use" provided you owned the paper version.
Phil
Clovis Lark
MOst people don't own the paper that isn't under PD.
> Phil
Phil Wood
Ownership is not really the issue - if you are a member of an orchestra and
are given a part (owned, hired or legitimately borrowed by the orchestra) to
perform as an employee/member of the orchestra then you have a legitimate
copy which could be scanned into the gizmo for the period the legitimate
copy is held. What you would have to do is delete the electronic version
when the hired/borrowed parts were returned or you left the orchestra.
Phil
Clovis Lark
BUZZZZ. Wrong answer. You don't have a legit copy. Only the copyright
holder or their agent can give or authorize a legitimate copy. Hired or
borrowed music does not confer copying rights to the borrower.
> which could be scanned into the gizmo for the period the legitimate
> copy is held.
Only with the copyright holder's permission.
> What you would have to do is delete the electronic version
> when the hired/borrowed parts were returned or you left the orchestra.
Leaaving the orchestra would have nothing to do with it. The orchestra is
not the copyright holder.
http://www.mola-inc.org/pdf/MusicWePerform.pdf
> Phil