ForgotPassword?
Sign Up
Search this Topic:
Forum Jump
Posts: 467
Jan 3 06 6:13 PM
Posts: 6259
Jan 4 06 1:31 AM
Posts: 504
Jan 4 06 3:36 PM
Jan 5 06 4:57 AM
Jan 5 06 6:00 PM
Jan 5 06 7:52 PM
Jan 7 06 6:58 AM
Jan 7 06 11:36 AM
Quote:PEEKSKILL-A NICE VIEW FROM THE HUDSON SIDE OF THE TRAIN
Posts: 2773
Jan 14 06 4:52 PM
Jan 15 06 1:06 AM
Quote:With Rozsa's films, the dramatic scenario is the "given," and the music is a structure built in support and elaboration. With Wagner, the whole thing -- story, characters, and music -- emerges simultaneously from a single mind.
Jan 15 06 9:28 PM
Jan 16 06 2:07 AM
Jan 21 06 11:08 AM
Jan 24 06 8:47 PM
Jan 24 06 8:55 PM
Jan 25 06 9:37 PM
Jan 26 06 3:33 AM
Mar 7 06 9:42 PM
Quote:Its easy to see why Richard Yardumian . . . was so popular with the long-time Philadelphia Orchestra conductor Eugene Ormandy. Ormandys tastes in contemporary music ran toward the big, tonal and frequently bombastic, with heavy doses of Sibelius, Shostakovich, and Prokofiev. Although in his own time, many critics dismissed Ormandy as an unintellectual populist, he was, especially in retrospect, a tireless and faithful supporter of many living composers, championing a number of works that have since entered the standard repertoire.
Quote:The Chorale Prelude had its first performance on April 3, 1959. . . . The work was commissioned as part of a Restful Music Project organized by New Orleans businessman Edward R. Benjamin, who felt that too much contemporary music is unpleasantly loud and dissonant.
Mar 7 06 9:46 PM
Quote:Benjamin, Edward B., Sr. The Restful In Music. New Orleans: Restful Music, 1970. 22 cm, 131 pp. Hardcover in full maroon cloth, top edge foxed, very good overall. "Millions of Americans resent the incessant yowling and howling of jazz, bebop and rock 'n' roll." Benjamin proposes as a cure the hundreds of soothing classical recordings detailed within, with discographical details.
Mar 8 06 1:07 AM
Quote:It was this summer [1963], after my family joined me in Rome (after scoring SODOM AND GOMORRAH), that I wrote the Notturno Ungherese for the Philadelphia Orchestra and Mr Benjamin, a southern millionaire who every year (emphasis mine) commissioned a piece for the orchestra from a composer recommended to him. This year I was the one recommended by Eugene Ormandy. When I met Benjamin he told me he didn't mind what the piece was, as long as it was quiet; he liked to have quiet music in his office while he was woarking. So once again I was to write background music.
Share This