Subject: Re: speech, modelling, whither poesie?
From: Richard Wentk (firstname.lastname@example.org)
Date: Sat Jun 05 2004 - 06:18:45 EDT
At 14:49 04/06/2004 -0400, you wrote:
>Another argument I love to get into all the time is whether there is such a
>thing as "good" music, not just "good to my taste" (my view is emphatically
>"yes", but it's a deep subject).
Mine is "yes, for certain values of 'good.'" :)
>That I have learned to appreciate genres formerly alien or even repellant
>to me, and to discriminate within those genres, is one reason I think there
>is such a thing as "good" music
Just got in from seeing pianist John Lill at a concert. Lill has been a
pillar of the UK musical establishment for decades now. He's known for his
Beethoven, and also - more quirkily - for claiming to be in touch with the
ghost of Beethoven while playing. Last time I saw him he tended to make
everything sound Beethoven-ish - an interesting experience with Chopin -
but that was much less obvious today.
Went home with The The's 12" remix collection on the car stereo.
Two very different kinds of good. If they have anything in common it's
probably something very simple, like cleverness wrt their relative musical
styles, and a passionate committed intensity about what they're doing.
Lill played a Barber sonata which sounded very twencen - all architecture
and development and hard edges, but no bloody point to it *at all.*
Why does the music of Mozart, Beethoven, Chopin, Schuman, Berio, and The
The sound like it has a point to it, but so much academic twencen music
sounds like an abstracted intellectual thought process, viscerally
disconneted from everyone and everything around it?
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