tag:blogger.com,1999:blog-9617011.post4088681763137926097..comments2024-03-27T23:45:06.093+01:00Comments on Renewable Music: CaliforniansDaniel Wolfhttp://www.blogger.com/profile/09093101325234464791noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-9617011.post-52844340979062422882007-02-26T08:04:00.000+01:002007-02-26T08:04:00.000+01:00At our New Music Séance yesterday, Kate Stenberg a...At our <A HREF="http://www.rchrd.com/blog/2007/02/seance_2007.html" REL="nofollow"><B>New Music Séance</B></A> yesterday, Kate Stenberg and Eva-Maria Zimmermann performed Hauer's Zwölftonspiel 2/9/1956, and number 5 from his Fünf Stücke from 1925. The first was quite dry and sounded more like an exercise. But the second, subtitled "Jazz", was much more approachable, sounding more like Kurt Weill or Hans Eisler. Interestingly, the evening also included Webern's Four Pieces Op. 7 from 1910, which seemed more contemporary and radical than most of the very recent compositions on the program. <BR/><BR/>While there does seem to be a lot of interest in Hauer, valid historical interest, I'm afraid that what I've heard (and there isn't that much available) rarely satisfies the interest. Maybe we need to hear more?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9617011.post-47380497503896078242007-02-20T07:55:00.000+01:002007-02-20T07:55:00.000+01:00Hey Daniel-knowing your taste, I highly recommend ...Hey Daniel-knowing your taste, I highly recommend that you try and track down some of Krenek's writings on Renaissance music, for instance his study on Ockeghem. He probably had strongest grounding in "Western Music History" of all the Schoenberg 'school'. Schoenberg ignored music before Bach, Webern was interested by a few composers here and there, and Berg followed Schoenberg's example. <BR/><BR/>Man knew his shiznet.PWShttps://www.blogger.com/profile/16963459674044166116noreply@blogger.com