concerts on my own time
Mar. 9th, 2008 08:47 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
calimacI've been lying down under the radar, hoping for a chance to get my detailed Potlatch panel report written. No time so far. Music has been occupying much of my time; that and a blood test and visiting my mother-in-law in the hospital and getting the taxes ready and helping B. clean house for today's Mythopoeic Society meeting. All had to share space on my schedule with this week's thoroughly active little event at Stanford called The Stravinsky Project: lectures, conversations, demonstrations, a Stravinsky music video (!), and concerts. One of them featured the composer's own arrangement of The Rite of Spring for two pianos. You probably know The Rite of Spring, a harsh, rugged ballet score using the resources of a large, extensive symphony orchestra to terrifying effect. Reduced to the compass of two pianos, it makes me want to pat it on the head and coo, "Who's a little fear demon?"
More on this when my review is published. Trying to decide whether to sneak that Buffy reference into publication.
Also rubbed in to the mix: student chamber music concert. Various individual movements by various performers. You don't know what you'll get until you arrive. Several pieces by Brahms, including a movement from the Op. 40 horn-violin-piano trio, which you don't get to hear often. A quartet for piano and strings by Chausson, something else you don't hear much. And Copland's Vitebsk, not a work for the faint-hearted.
And unrelated, a concert by the Mozart Piano Quartet at le petit Trianon. Mozart's K. 493, not a work on Ron's essential Mozart list. The early and supposed-to-be-Brahmsian-I-wish-it-were-more-so quartet of Richard Strauss. And a work by a turn-of-the-20th-century female composer I'd never even heard of, who wrote under the name Mel Bonis. The Mel was short for Melanie, but she used the abbreviated form to seem androgynous. Perhaps people would think the Mel was short for Melvin, but that seems an unlikely hope, since she was French, and, judging by her music, very very French indeed. She was a student of César Franck, and was praised (in what seems like rather condescending tones) by Saint-Saëns, but her work does not sound like either of those two rather Germanic-influenced masters; it's more like, oh, Chausson. And thus we return to where we were.
More on this when my review is published. Trying to decide whether to sneak that Buffy reference into publication.
Also rubbed in to the mix: student chamber music concert. Various individual movements by various performers. You don't know what you'll get until you arrive. Several pieces by Brahms, including a movement from the Op. 40 horn-violin-piano trio, which you don't get to hear often. A quartet for piano and strings by Chausson, something else you don't hear much. And Copland's Vitebsk, not a work for the faint-hearted.
And unrelated, a concert by the Mozart Piano Quartet at le petit Trianon. Mozart's K. 493, not a work on Ron's essential Mozart list. The early and supposed-to-be-Brahmsian-I-wish-it-were-more-so quartet of Richard Strauss. And a work by a turn-of-the-20th-century female composer I'd never even heard of, who wrote under the name Mel Bonis. The Mel was short for Melanie, but she used the abbreviated form to seem androgynous. Perhaps people would think the Mel was short for Melvin, but that seems an unlikely hope, since she was French, and, judging by her music, very very French indeed. She was a student of César Franck, and was praised (in what seems like rather condescending tones) by Saint-Saëns, but her work does not sound like either of those two rather Germanic-influenced masters; it's more like, oh, Chausson. And thus we return to where we were.
