"Always so rude, that one."
Kristen. Tall, knits, writes.
Interests include film, television, film & TV music and other media.
Based in Boston, MA. Rhode Island native. Coffee milk all day long.
TRACK: A Nova Upgrade ARTIST: Tyler Bates ALBUM: Guardians of the Galaxy
Tyler Bates - A Nova Upgrade
(OST. Guardians of the Galaxy)
Hands down the best release of the year, like I said the level of detail on this box set is just spectacular.
So excited to get stuck into this again!
LENOX — As a tribute to one of Tanglewood’s most prominent guiding spirits for 50 years, a bronze bust of the late composer/conductor Leonard Bernstein was unveiled Monday at Tanglewood.
Bernstein’s association with Tanglewood began in 1940 when he attended the Boston Symphony Orchestra’s summer home as a conducting student. He conducted his final concerts at Tanglewood shortly before his death in 1990.
The bronze sculpture by sculptor Penelope Jencks was installed in the main entrance of Tanglewood’s Highwood manor house. It is part of the BSO’s continuing plan to pay tribute to several of Tanglewood’s most famed musical giants of the past 75 years through a series of sculptures.
Jencks is well known for her sculpture of Eleanor Roosevelt in Riverside Park in New York; the Samuel Eliot Morison “Sailor, Historian” at Commonwealth Avenue and Exeter Street in Boston, and the 2007 portrait of Robert Frost at Amherst College.
The New England-based artist’s bust of Aaron Copland, the composer who also exerted a major influence on the BSO’s summer home, was installed three summers ago in Tanglewood’s formal gardens behind the Tappan Manor House where Copland’s ashes were spread soon after his death.
Next in line will be a sculpture of Serge Koussevitzky, who founded Tanglewood in 1937 during his tenure as the orchestra’s music director from 1925 to 1949.
The Jencks sculptures at Tanglewood were commissioned by John Williams, the famed composer and conductor who serves as Tanglewood Artist in Residence and Boston Pops Laureate Conductor.
Today I learned that a composer named Erwin Schulhoff wrote a completely tacet piece as the third movement of his “Fünf Pittoresken" for piano. His piece pre-dates John Cage’s 4’33” by 30 years, and is actually much more suggestive as to how the silence should be shaped, containing really complex rhythmic rests and lines to the rests. His successful career was cut short due to the Rise of the Nazi Regime in Germany and their strict rules on music, and because of this, his pieces are very rarely played or referenced to.
This is very cool, and I did not know this person existed.
However, the comparison to 4’33” misses the point of Cage’s “chance music” concept completely. The point of 4’33” is NOT the way the silence is notated, but how through silence, the natural sounds of the world reveal themselves. Schulhoff’s idea favors a more ‘virtuosic silence’ on the part of the performer, while Cage’s piece is more of a twisted idea of audience participation.