From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V9 #161 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Sunday, June 18 2006 Volume 09 : Number 161 Today's Subjects: ----------------- Re: [idealcopy] LOST LATER ["Keith A" ] Re: [idealcopy] Re: idealcopy-digest V9 #158 ["Paul Pietromonaco" ] ---------------------------------------------------------------------- Date: Sat, 17 Jun 2006 18:17:42 +0100 From: "Keith A" Subject: Re: [idealcopy] LOST LATER > > As for Lost, never watched it. Find it hard to get excited by current US > > drama series. > > Mark - this is one of the very rare times when a US show lives up to the > hype. J.J. Abrams, the creator of Lost, created this show from the best > parts of his previous show Alias. Lost is not really a drama - it's more > like a complex character study with a few sci-fi overtones and an > over-riding sense of dread and mystery. Not watched it myself. Someone mentioned monsters and scared me off! ; ) But Mrs Keith is an avid fan. I keep out of the way when it's on! K. np PSB's - fundamental ------------------------------ Date: Sat, 17 Jun 2006 12:05:54 -0700 From: "Paul Pietromonaco" Subject: Re: [idealcopy] Re: idealcopy-digest V9 #158 > Which begs the question as to why Stanley - or MGM - thought he could > get away with it. The use of Ligeti was a very late decision by Kubrick > - he had already commissioned a score from Alex North and only decided > not to use it at the eleventh hour - so perhaps it was overlooked in the > last minute scramble (he said charitably). Whatever the reason, it is a > brilliant use of found music as score and I'm sure a signpost on my > journey into the farther reaches of music, given the effect the film had > on me. > Hiya! I can shed a little light on this, I think. When they released Mr. North's unused score, the booklet had a little bit of information about this. I'm quoting from memory, but to the best of my recollection, Mr. Kubrick (et al) had placed a "temp score" throughout most of the movie, with the intention of having Mr. North create the real score. The temp score is a common occurence in Hollywood - e.g. that's why so many of the movie previews use Danny Elfman's Edward Scissorhands theme, but have completely different music when they are released. As a director, it's a lot easier to make your movie by placing Danny Elfman's Batman theme in your rough cut, than to say "thru here, it should sound like Danny Elfman's Batman theme." ^_^ As Mr. North completed his score, Kubrick started to really like his temp score, and decided to roll with it, thanking Mr. North for his time. If people are curious, I can find the original liner notes and quote more extensively. Some of my CDs are still in storage - otherwise I'd grab it right now. ^_^ Cheers, Paul ------------------------------ Date: Sat, 17 Jun 2006 16:23:34 +0100 From: "Ian B" Subject: Re: [idealcopy] Wire and Tristram Shandy The waiting's over. The tenuous link is to Dome, and is the only usage I've ever read of the word YCLEPT outside of the album title (maybe this suggests I'm not particularly well read). "It is ten to one (at Arthur's) whether you have ever read the literary histories of past ages; - if you have - what terrible battles, 'yclept logomachies, have they occassioned and perpetuated with so much gall and ink-shed,--- that a good natured man cannot read the accounts of them without tears in his eyes." Before I go back to the football, are there any opinions as to whether the recent reissues are significantly enhanced listening experiences over and above other issues. I'll pose the same question as reagrds the Eno/Byrne recent reissue - ----- Original Message ----- From: Ian B To: Sent: Thursday, June 08, 2006 8:45 PM Subject: Re: [idealcopy] Wire and Tristram (was Republic-News (Vancouver)) > Since things are a tad slow, anybody else care to name another tenuous link > between Wire and Tristram Shandy; clue - it's offshoot-related and very > obscure > > ----- Original Message ----- > From: Cornelio Ud Ad (Ally in exile) > To: > Sent: Wednesday, June 07, 2006 10:41 AM > Subject: [idealcopy] Republic-News (Vancouver) > > > > A short article about Wire from 26th March in a Canadian Newspaper. > > Maybe I am not the first that posts it here. Most interesting, the > > relationship between Wire and one of my favourite books, Sterne's > > Tristram Shandy... ------------------------------ Date: Sun, 18 Jun 2006 00:11:11 +0100 (BST) From: Fergus Kelly Subject: [idealcopy] Symphonic in persuasion Tony said: At the risk of stretching a point beyond credibility I think Ligeti stood in relation to classical music in much the same way that Wire stand to pop/rock - the jokers in the pack, insiders and outsiders at the same time, simultaneously ironic and earnest. ((( Interesting you should make that comparison as it was Colin who said, in Kevin's book, when referring to the nature of Mike Thorne's listening habits, "He could listen to Ligeti or X-Ray Spex." I still half-try to keep up with developments in as many areas of music as possible and I've dipped into contemporary classical music a couple of times in the last few years but I haven't found anything truly remarkable since Ligeti. Anyone got any suggestions ? ((( Well, I'd have to blow a trumpet for my favourite composer here, someone truly remarkable, but a very different kettle of fish to Ligeti, and that's Morton Feldman (d.1987). Feldman was an American composer whose work was influenced as much by visual arts and literature, as other music. He was close friends with some of the heavyweights of the New York scene of the 40s 50s & 60s, such as Jasper Johns, Willem DeKooning, Robert Rauschenberg and Philip Guston, John Cage, and wrote pieces dedicated to them. He greatly admired Beckett, and met him on a couple of occassions, and managed to get him to write a libretto for his opera, Neither (both of them disliked opera). Feldman wrote an orchestral work, For Samuel Beckett, and dedicated perhaps his most ambitious (and least played), String Quartet II, to Beckett. Depending on how it is played, it can last between three and a half and five and a half hours. I had the wonderful experience of hearing both Neither and String Quartet II (5.5 hour version) in the flesh this year. As concert experiences go, they were pretty unique. Especially the latter. Neither, strangely enough, was performed as part of a Steve Reich festival. After the curiously flat experience of Reich's music live, Neither had all these beautiful subtleties and nuances you miss on record. The audience, mostly primed for the architectural rigorousness and regularity of Reich, grew audibly uncomfortable about ten minutes into the 50 minute Neither. It opens out like something out of The Shining. A sliding sense of unease. There's just one singer, a soprano, and in the Dublin concert she seemed to be struggling with the material (frequent taps of the tuning fork to the head, and paniced glances at the conductor). It was also clear that The RTE Symphony Orchestra were new to this kind of material, and the perplexed expressions of some of players whilst reading their scores bore this out. All this added to the tension of the piece for me. It was exquisite. As far as comparisons go, I think it's not unfair to compare Feldman to Beckett, in that he worked with extremely simple ideas, had an innate feel for sounds and the silences between them (given equal parity), and kept reducing and refining those ideas to simpler and more elegant forms in the later years of his career. He was fascinated by the patterning in Persian rugs and the various minor inconsistencies in the weave, and this was a very strong basis for much of his comositional methods. I wrote about the experience of String Quartet II in my blog: http://www.asullenrelapse.blogspot.com A few choice CDs: Piano & String Quartet Routine Investigations Coptic Light Neither Violin & String Quartet All Piano Fergus ------------------------------ Date: Sat, 17 Jun 2006 19:27:27 -0700 (PDT) From: Ari Subject: [idealcopy] Ian asks........... >>are there any opinions as to whether the recent reissues are significantly enhanced listening experiences over and above other issues. I'll pose the same question as reagrds the Eno/Byrne recent reissue<< I can only comment on the Eno/Byrne re-issue Ian, most definitely worth having, much more 'immediate' and the mix gives the whole listening experience a somewhat fresh approach. I liken it to what Bill Laswell did to Miles Davis' and Bob Marleys music when he remixed some of their stuff. of course Qu'Ran isn't included, which is a shame really, but you can always add it to a burn yourself to 'complete the set'........... 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