… of the symphony concert last weekend. Read it here. He liked it.
There’s this: “Zurich train station temporarily becomes opera hall”
Which I read as this: “Zurich train station temporarily becomes opera hell”
Hah! I suppose to some it might have become that, yes?
I don’t like having music foisted upon me. I’m guessing others might not either. I like to choose when I’m going to hear something (thus my “headphones at the store” idea that simply hasn’t caught on).
But despite my misgivings I wish I had been at the train station. Mostly because that would have meant I was in Zurich. And I’ve never been there. Heck, I’ve hardly been anywhere, woulnd’t ya know? And it does sound like it would have been an event to see and hear.
The whole thing sounds like quite the production.
I just saw a symphony site that advertises a concert called “A Cookie Concert featuring the Space Painter.”
I clicked on the link to that concert and I get this which is not at all helpful. At all.
I just liked the idea of cookies.
Headline: Boston Symphony kincks off new season, pushes college discounts
I saw it here.
Is there something I don’t understand?
Well, okay, I have a ton of questions, so I am lying unless I clarify.
I only have one question about the following:
It was all our fault, apparently. It wasn’t the most auspicious start to the Kings Place era and today’s opening events in London’s new concert halls. For most of the first programme this morning – an enterprising lineup of Simon Holt, Jo Kondo, Niccolo Castiglioni and Bela Bartok – the musicians of the Endymion Ensemble had to compete with a percussive counterpoint of offstage hammering. This aleatoric intervention destroyed the delicate soundworld of Kondo’s Birthday Hocket and threatened to derail oboist Melinda Maxwell’s world premiere performance of Simon Holt’s Disparate. A rival chamber music hall trying to sabotage the opening gig? A gesture of anti-classical music protest? Unfortunately nothing so dramatic: instead, it was workmen fitting out the Guardian’s offices – we’re moving in soon, completing Kings Place’s grand fusion of the corporate and the cultural.
At least by the time of Bartok’s Contrasts the workmen had been silenced, but there was an air of genial chaos even before the first concert kicked off at half past nine this morning. In the middle of the public atrium outside the hall, Stephen Stirling played a fanfare for solo horn by Martin Butler, but he had to fight against the noise of 100 metronomes – an automated performance of Ligeti’s Poème Symphonique – as well as the hall’s excited announcer. Still, it’s a symbol of the adventure and enterprise of Kings Place that its first-ever public music-making should be of Ligeti’s mechanical masterpiece.
Can you guess what my question is? C’mon … read it again … think … musician … schedules … how we live ….
Get it yet?
What the heck are they doing having a concert at 9:30 AM?!
What musician in her right mind would be functioning that early, huh? (Yes, I’m awake and it’s 8:28 AM, but I’m still in my robe, doggone it!)
😉
I read it here.
I recognize them, but I’m horrible at naming all the Mozart works in the following video. But you’ll hear a whole heck of a lot, I promise. Not quite as Mozart composed them, though. (The group sure seems to have a lot of fun! They appear to love clowning around.)
