January 23, 2005: Sweden, Hungary, Denmark & The Netherlands in the 70s: a stochastic goldmine
Listen to this show:
RealAudio
| Artist |
Track |
Album |
Label |
Comments |
|
Paul Lansky
|
Countdown
|
Alphabet Book
|
Bridge
|
|
|
Irene Moon & Friends
|
For the Neonate / De Mo
|
For the Neonate
|
Bogonia Society
|
|
|
|
Music behind DJ:
Raymond Scott
|
Waltz of the Diddles
|
The Unexpected
|
Basta
|
|
|
Robert Heppener
|
Muziek voor Straten en Pleinen (1970)
|
Robert Heppener / Rudolf Escher
|
Composers' [sic] Voice (8202)
|
trans. "Music for Streets and Squares"
|
|
Alan Hovhaness (b. 1911)
|
Symphony of Metal Instruments, Op. 203, mvts. 3 & 4
|
Symphony of Metal Instruments
|
Koch Int'l Classics
|
|
|
Charles Koechlin
|
Les Bandar-Log, Op. 176
|
Calouste Gulbenkian Foundation Series No. 12: Koechlin / Boulez / Messiaen
|
|
composer's note:
The Bandar Log is the name given by Kipling to the jungle monkeys in “The Jungle Book”.
At the start of Les Bandar-Log the calm of a luminous morning is suddenly shattered by the monkeys. Their squalling is grotesque—yet their gambols are supple and gracious. As we know from Kipling, monkeys are at once the most vain and the most insignificant of creatures. They believe themselves to be creative geniuses, but in reality they are only vulgar mimics, whose sole aim is to follow the fashion of the day.
The monkeys in this symphonic poem use various procedures of “modern harmony” (but use them badly). First, consecutive fifths and ninths in the manner of Debussy—interspersed, however, with gambolling figures which remain musical and harmonious. Then they arrive at ‘atonal music,’ eager to follow the 12-note method of Schoenberg and his disciples.
But here the whole forest begins to sing with them, with the result that their atonality becomes musical and almost lyrical. This expressive evolution annoys the monkeys. They want to ‘remain classical’ ; and so they make an artificial and ridiculous pseudo-return to Bach. This, then, is a hard and factitious polytonality, on the theme “J’ai du bon tabac.” It is followed by a chromatic fugue in which the subject and counter-subject rival one-another in folly. But once again the forest intervenes, takes command, and with a new exposition of the subject, transforms the fugue into real music.
The monkeys return (passages for solo percussion) and amid a general hubbub take up their ‘back to Bach’ theme. But suddenly their lucubrations are interrupted by the arrival of the Lords of the Jungle—Barloo, Bagheera, and the serpent Kaa. The awesome bugle-calls put the monkeys to flight, and the jungle returns at last to the luminous calm in which the symphonic poem began; when the jungle sings, it is a genuine homage to the polytonal or atonal language.
|
|
|
Music behind DJ:
Chris Brown
|
|
|
|
|
|
Thomas Jennefelt
|
Warning to the Rich
|
Swedish Choral Music from the 1970s, Vol. I
|
Caprice
|
Come on, you wealthy
weep and cry about the miseries
that are coming upon you.
Your hoarded wealth has decayed
and your clothers have become moth-eaten
Your gold and silver are covered with rust, and the rust shall
be evidence against you and
as fire it will consume your flesh.
(the damnation continues...)
Epistle of St. James 5:1-6, 4:9
|
|
Hans-Henrik NORDSTRØM (b. 1947)
|
Fantasia Fyrir Bassaflautu (1998)
|
Hans-Henrik NORDSTRØM 3
|
Classico
|
Fantasy for Bass Flute, performed by Kolbeinn Bjarnason
|
|
Sven-David Sandström
|
A Cradle Song / Tyger Tyger (1979)
|
Swedish Choral Music from the 1970s, Vol. I
|
Caprice
|
a simultaneous setting of the above two William Blake poems
|
|
|
|
Diderik Wagenaar
|
Liederen (1976)
|
Netherlands Winds Ensemble
|
Composers' [sic] Voice (7804)
|
"Songs" for metal wind instruments, 2 pianos and double bass.
|
|
Joseph Schwamtner
|
...and the mountains rising nowhere
|
(Various) Howard Hanson: Young Composer's Guide to the Six Tone Scale
|
Mercury
|
performed by the Eastman Wind Ensemble, directed by Donald Hunsberger
|
|
Miguel Frasconi
|
Solo 2
|
Live from WFMU
|
|
|
|
L
|
Cold Was the Ground
|
Holy Letters
|
VHF
|
|
|
|
|
Erzebet Szonyi (b. 1924)
|
Five Preludes
|
Radnoti Cantata / Chamber Works
|
Hungaroton
|
|
|
Sáry László (b. 1940)
|
Prelude for Four Keyboard Instruments
|
Flowers of Heaven
|
Hungaroton
|
Interesting compositiotion here's what they say: ...the performer is left almost completely to himself to select the actual pitch levels...the four parts play their notes, motifs consisting of two, three and four notes. The direction of these motifs is always identical: the four note motifs proceed upwards, while the two and three note motifs motve downward...
|
Playlists feed |