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BOOM'S DUNGEON
Boom
Much of what is in this blog is related (sometimes only tangentially) to art music. Occasionally I use insensitive language in referring to various arrogant or incompetent assholes who managed to get on my nerves. If you're squeamish about such language, then stay away from this blog. To contact me, use boomboomsky at gmail dot com.
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A 15-year old New Yorker, David Sacks does not seem to think of Elliott Carter's piano sonata as being any more challenging than those of Beethoven or Chopin.  When talented youngsters like Sacks begin to learn - and perform! - Carter's music along with the music of the 18th and 19th century masters, perhaps there is still some hope for the survival of modernist art music in America. Just
1 year ago |
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When a review of an opera CD in a respected non-specialist general magazine* uses words like uxorial and oneiric -

"...the apotheosis of chaste, uxorial devotion is set against a lush orgiastic orchestra..."

"The proper name for the resplendent, oneiric terrain where the kitsch-Kundry reigns is Tinseltown."

- what does this say about the author?  Personally I find such words irritating not because they are obscure but because their use strikes me as gratuitous.  Familiar English words wifely and dreamy (or dream-like) respectively would do perfectly well in the above quoted sentences.  But then my preference for linguistic clarity, transparency, and directness may have more to do with the fact that English is not my mother tongue than with some objective criteria of literary aesthetics. 

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* Richard Taruskin, 'The Golden Age of Kitsch', The New Republic, 1994.  Reprinted in The Danger of Music and Other Anti-Utopian Essays, U. of California Press, 2008.

1 year ago |
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A 70-year old soloist (Daniel Barenboim) and a 76-year old conductor (Zubin Mehta leading Staatskapelle Berlin) performing a new composition by a 103-year old composer (Elliott Carter) while a famous 87-year old conductor-composer (Pierre Boulez) listens intently from his seat in Row 2.  This kind of Geriatric Cool, captured on HD video at the Berliner Philharmonie (Barenboim's 70th Birthday
1 year ago |
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Bernstein ... shows an interest in progressive music only for the sake of publicity or scandal - he doesn't like it - what he likes is American versions of Prokofiev and Shostakovich. Elliott Carter, letter to Goffredo Petrassi, 11 May 1959* ___________ * Elliott Carter: A Centennial Portrait in Letters and Documents, F. Meyer and A. C. Shreffler (eds), Paul Sacher Foundation, The Boydell
1 year ago |
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Another post strictly for fluent Russian speakers. ??????????? ??? ??????????? No.2 ??????, ????, ?????? ????... H? ???? ?? ????? ????... ? ???? ????? ?????? ?????? ?????? ????. ? ???????? – ???????, ? ???? ??? ?? ??. ???-?? ? ?????? ??????? ??? ????????? ?? ???. ?????, ?????, ????? ?????... ????? ????? ??????... A ? ????????? ?????? ???-?? ???????? ?? ???. ???-?? ?????? ?? ???? ????:
1 year ago |
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In an advance article for the upcoming 1995 Proms premiere of Elliott Carter's Adagio tenebroso, the distinguished music critic (and later Carter's librettist) Paul Griffiths wrote: [Carter] tells the story of how [in 1994], when he was working with Daniel Barenboim on the first performance of his Partita, Barenboim half-jokingly suggested he ought to write a comic opera next, and he
1 year ago |
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