Maybe I should translate his "prose" sometime, for our delectation. It is
written in normal sentences, but the content is even worse than in his
"music".
RT
----- Original Message -----
From: <[email protected]>
To: "Roman Turovsky" <[email protected]>; "David Rastall"
<[email protected]>
Cc: "Lutelist" <[email protected]>
Sent: Monday, October 05, 2009 8:09 AM
Subject: Re: [LUTE] Re: The reason we play lutes
David,
That's the biggest problem of all with this sort of stuff - dead
seriousness. I forced myself to listen to all of this and found that there
were actually a few interesting moments buried in there between vast canyons
of superfluousness. Unfortunately the composer obviously took himself so
seriously that he seems to believe that we're going to be so impressed by
his command of erudite compositional techniques that we'll feel honored to
absorb anything he casts our way - even 7 minutes of noises. No doubt the
composer would be happy to lecture us about the mind-boggling array of
chance operations, algorithmic constructs or complex pre-compositional grids
he used to generate the sonic events of "Manifest." Now, don't we feel
stupid?
Chris
--- On Sun, 10/4/09, David Rastall <[email protected]> wrote:
From: David Rastall <[email protected]>
Subject: [LUTE] Re: The reason we play lutes
To: "Roman Turovsky" <[email protected]>
Cc: "Lutelist" <[email protected]>
Date: Sunday, October 4, 2009, 10:25 PM
On Oct 4, 2009, at 3:11 PM, Roman
Turovsky wrote:
> EM revival in general was a reaction to this type of
(neo)modernism.
In that context, anything is possible. I knew a
college professor
back in the day who was a composer. He called his
work "radical-neo-
post-diatonicism." The weird thing was that he was
deadly serious
about it. That's really how he wanted to be
known! I have enough
trouble with Charles Mouton, without having to contend with
neo-styro-
HIP.
Best,
David Rastall
[email protected]
www.rastallmusic.com
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