Subject: Re: Re : (junk yard dog in) hidden place
From: jmmmp (firstname.lastname@example.org)
Date: Wed Sep 14 2005 - 14:42:28 EDT
that's a though comparation point, there are lots of external factors
which influentiate the situation:
- I think he didn't worked 2 years on a row, but there was a gap in
between (and indeed he had all the assistents and time he needed)
- although the "before was easier, nowadays is harder" point is already
known, in that time there was a lot of funding to new music, wdr was quite
powerful and interested through Mr. Tomek (even though the studio was in a
basement or in a cramped space), germany was in the economic boom and
there was the need to replace the earlier culture which for obvious
reasons had to be "deleted".
which 28-year-old composer has the chance to have a piece for 3 orchestras
(~107 musicians) premiered (with lots of individual, group and tutti
rehearsals) and toured nowadays?
- I don't know if he already worked for Universal then or if he earned
enough with the radio programs he produced, but a rumour is that his wife
of that time, Doris Andreae, came from a rich family. Anyway, one can
always ask him, he'll be delighted to speak about himself and educate
others. By reading his books, one has the idea that after playing piano
for a magician he earned money only from music-making.
anyway, it is true that Stockhausen is an exceptional case, it's not worth
trying to compare it with anyone else.
> At 12:03 -0400 2005/09/14, Michael Gogins wrote:
>> I think one reason is the standard of production and sound quality has
>> often been higher in commercial and classical music than in EA.
> And working in rooms with $50,000 of acoustical treatment and $30,000
> speakers, and 5, 6, 7 person production teams.
> Stockhausen (an exceptional case) worked on Kontakte for over 2 years,
> with assistants and engineers. I'm not sure what his day job was at the
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