Comments on: Stockhausen and Carter my (old) heroes http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/ Roger Bourland writes about music and life Fri, 05 Dec 2008 10:27:46 +0000 http://wordpress.org/?v=2.6.2 By: Brad Wood http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39772 Brad Wood Mon, 30 Jul 2007 05:32:27 +0000 http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39772 "I thought stoky-haus was an insane pedophile…and still do." Was there some smoking errr guns beside the use of boys' voices in Gesang? “I thought stoky-haus was an insane pedophile…and still do.”

Was there some smoking errr guns beside the use of boys’ voices in Gesang?

]]> By: ComposerBastard http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39768 ComposerBastard Mon, 30 Jul 2007 02:08:38 +0000 http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39768 My hero's were Cage, Crumb, Takemitsu, Berio ( I mean who could not like Visage?), Messy-aen. I thought stoky-haus was an insane pedophile...and still do. Sound was much more important to me in my teens. In retrospect, I should have followed my instinct and gone to CAL arts. They had a nice swimming pool. My hero’s were Cage, Crumb, Takemitsu, Berio ( I mean who could not like Visage?), Messy-aen. I thought stoky-haus was an insane pedophile…and still do. Sound was much more important to me in my teens. In retrospect, I should have followed my instinct and gone to CAL arts. They had a nice swimming pool.

]]> By: Brad Wood http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39767 Brad Wood Sun, 29 Jul 2007 22:42:16 +0000 http://rogerbourland.com/blog/2007/07/29/stockhausen-and-carter-my-old-heroes/#comment-39767 I loved all that dodecaphony as well when I was about 14-15 or so. I didn't really hear that well yet, and probably learned a bit more about harmony in negative relief, when the vagaries of the rows etc. conspired to produce triads or even (gasp!) recognizable cadences! I didn't have access to a piano most of the time, so writing was a bit of a challenge. I also loved Zeitmasse Nr. 5 in those days, especially because of its virtuosic demands. Someone who knew some of the players on the LP like flutist Arthur Gleghorn (whose nick if I recall correctly is Mouse) said it by far broke all of their records for the ratio of rehearsal time to playing time. By the last year of high school I was finally beginning to realize how sterile such music was, and finally finished a few very short, fairly tonal pieces including a difficult one for a wind quartet. On that I think we came close to the Zeitmasse rehearsal/playback ratio---but then we weren't near as good as the pro ensemble above. The quartet, for two clarinets, trumpet, and french horn, got performed by me and my friends Steve, Diane, and Samuel, the last guy a fine player who was subbing for the regular music teacher for one year at Granada Hills High. My father was in attendance. He told my brother it was all crap, and the bro of course (maliciously honest person that he tends to be) told me. I wasn't really disappointed. I loved all that dodecaphony as well when I was about 14-15 or so. I didn’t really hear that well yet, and probably learned a bit more about harmony in negative relief, when the vagaries of the rows etc. conspired to produce triads or even (gasp!) recognizable cadences! I didn’t have access to a piano most of the time, so writing was a bit of a challenge.

I also loved Zeitmasse Nr. 5 in those days, especially because of its virtuosic demands. Someone who knew some of the players on the LP like flutist Arthur Gleghorn (whose nick if I recall correctly is Mouse) said it by far broke all of their records for the ratio of rehearsal time to playing time.

By the last year of high school I was finally beginning to realize how sterile such music was, and finally finished a few very short, fairly tonal pieces including a difficult one for a wind quartet. On that I think we came close to the Zeitmasse rehearsal/playback ratio—but then we weren’t near as good as the pro ensemble above. The quartet, for two clarinets, trumpet, and french horn, got performed by me and my friends Steve, Diane, and Samuel, the last guy a fine player who was subbing for the regular music teacher for one year at Granada Hills High.

My father was in attendance. He told my brother it was all crap, and the bro of course (maliciously honest person that he tends to be) told me. I wasn’t really disappointed.

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