Subject: Re: from Eliot who used a different email address
From: Dominique Bassal (firstname.lastname@example.org)
Date: Fri Feb 04 2005 - 19:53:04 EST
Le 05-02-04, à 19:20, Richard Wentk a écrit :
>>> If the piece had not been Tallis, but this was an artist's decision.
>>> She could have commissioned a composer to write a 40 voice piece. I
>>> have spoken with choral people who were put off by the poor quality
>>> of the performance, and there was a sense of betrayal for me. I
>>> found the intonation and precision lackluster and insecure. I
>>> remained continuously aware of the failure of the team to realize
>>> the potential of the idea.
>> that just wouldnt have made the point.
> Exactly. I still think Kevin is missing the point entirely here. As I
> see it, it was never supposed to be a piece of music in the usual
> performance sense. Instead it's a piece *about* music and the
> processes and rituals that surround it.
From what I understand, that's not what Mrs. Cardiff says about her own
intentions. Read on this site :
" La plupart des gens font aujourd'hui l'expérience de ce motet dans
leur salon, assis devant deux haut-parleurs seulement ", raconte Janet
Cardiff. " Même au concert, l'auditeur est placé à distance des voix.
Seuls les interprètes peuvent entendre la personne à côté d'eux chanter
une harmonie différente. Je voulais entrer dans la musique."
Clearly nothing "para" or "meta" here. Just a choir singing very off,
recorded with staggering incompetence. I saw it in a different town
than Kevin (Shawinigan - at the same time Chretien was there, showing
"his" expo to Shimon Peres). I also watched for several runs. No one
else stayed even for one cycle. Faces seemed to me to express a bizarre
but intense deception.
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