Musical Terrorism

[carl-swanson]

Bonnie- This reminds me of a conversation I had years ago with a very important European harpist-one of the best in the world- who had premiered many new concertos. She told me that she finally threw in the towel, because she would spend half a year or more learning the piece and then would not get more than one performance out of it.

[steven-todd-miller]

This post is really getting me thinking… When I was 12 (this is absolutely true) some goofy buddies and I composed “The Diarrhea Concerto: A Tone Poem in 5 ‘Movements'” for piano with inter-movement narration. It was a sensation in middle school–perhaps I should submit it to the WHC? it would transcribe beautifully to the harp. After all, one of the movements is entitled “The Runs”. I can hear it now! A series of anharmonic aeolian fluxes in descending discomfort. I never thought of it as true art, but what the heck; if Jacob can do it, so can I!

[David Ice]

Steven,

I have to tell you this……

I attended a concert many years ago, where Nicanor Zabaleta was going to play Ravel’s Introduction et Allegro.

[Jerusha Amado]

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Dave,

Isn’t this just the way that it always is?

[Christian Frederick]

WE’RE NOT ALONE!!!!

Check out this new music for trombone!

http://youtube.com/watch?v=QvIrFCprYNQ

[David Ice]

Oh man…..that was actually better than the brass quintet….but not by much.

[Christian Frederick]

David,

I haven’t laughed that hard in years! It kind of reminds me of “Kolors With A ‘K'” at the WHC in Switzerland six years ago.

If the “artistic director” or someone with influence from WHC is reading this, I’d like to make a suggestion that for one conference, staff members of academia are ineligible to create new music, and candidates must have actual commercial credentials composing music to participate.

[Kathleen Clark]

Yes, this has been an interesting thread to read. I’ve been wanting to
respond, because of my experience at the AHS conference two years ago in San Francisco.
I think that was shortly after David’s “The Emperor Has No Clothes” article
appeared in Harp Column, the magazine (David, I was the one who came up to you
in the restaurant one evening to talk to you about it). Anyway, the first
concert there was at the Geary Theater and my husband and I left after the first
half because we just couldn’t sit through any more cacophony and the programme
looked like the second half would be more of the same (I was later told most of
it was). I don’t remember the piece, but it was long and cacophonous and I had
the biggest fit of giggles because near the center back of the theater someone’s
hearing aid had been turned up full volume and was answering the squeaks and
squawks of the onstage harp almost on cue. It was like some techno mating ritual
or Close Encounters of the Worst Kind going on there. Anyway, the errant hearing
aid pretty much saved the day for me and made it the most memorable concert I
ever walked out on. Hubby and I didn’t much care for the harp at that AHS
concert so we chose to bail before allowing ourselves to be subjected to any
more of it. Back at the ranch (the St. Francis Hotel)
we ensconced ourselves in front of Paul Hurst as he was warming up in the
reception hall on that gazillion dollar Louis XV harp from Lyon & Healy. He
played everything from his own compositions to Broadway to Smetana’s Moldau.
Almost a private concert all evening since the AHS one down the street ran overtime. It was
much more what we were in the mood for, I guess, but I’m not going to second
guess the wisdom of that hearing aid. I am just grateful that the San Francisco
AHS had provided an unplanned alternative.

Anyway, here’s why I decided to post this message. After the concert at
the reception I found myself a bit annoyed hearing other harpists’ comments
about it, comparing their notes on how they have had to play similar pieces at
one time or another. These were professional harpists, well known harpists I
have admired from afar listening to their recordings, reading about them, etc.,
and then even they were making fun of the agony of having to play and sit
through those same pieces right there in front of me. If that’s how they really
felt then why hadn’t they done something about it instead of just talk? They
were at least in a position to have had some clout and be heard. They made hubby
and me feel good that we had had the courage to bail and have a grand time
elsewhere. So that is why I interrupted poor David later when I saw him at the
restaurant. Love the title of your article, David! Just the title alone so aptly
describes what I experienced during and after that concert. I still feel bad
interrupting your private time like I did, but it was my first AHS conference
and I didn’t know if I would have the chance to talk to you again. Thank you for being the gracious, and honest, person that you are.

[unknown-user]

But wait. We are what we play. That is performing. We embody the music and present it to the audience, and hopefully we, and only we, are responsible for our choices. Insomuchas, with competitions and all, that is rarely the case, it only means the performer is that much less themself. What a loss. The intimacy of playing music you have found in your

[Kathleen Clark]

Saul, I think what you say here is one of the most beautiful things about the joy of playing the harp I have ever read. I am printing it out and keeping it by my harp. This is how she wants to be played and how she wants to give to me and through me to the world. I will have sweet dreams because your words will comfort me and make me smile as I go to sleep. Thank you.

[Jerusha Amado]

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I agree wholeheartedly with Kathleen Clark.

[Kathleen Elarte]

Hi Tony,

I don’t feel that the WHC is as obscure as you want to believe. It is

[Kathleen Elarte]

I am curious as to who has the final say or makes the choice of music to be played at international conferences? Reason why I’m asking is that the final concert and last musicians to play at the WHC was a group called “French Kiss” (electric celtic harp/electric bass) from Quebec, Canada.

[unknown-user]

I’m wondering, were these pieces performed using written scores? Do written scores exist for either of them?

[unknown-user]

There was a ridiculous piece by Sylvano Bussotti, now out of print, and I wish I had kept it, because it was graphically beautiful, but sonic nonsense.

[Author]

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