IN 1961 AT 17 IN MY FIRST JOB AFTER SCHOOL WORKING FOR NOVELLO AND CO WARDOUR STREET LONDON, RETURNING FROM LUNCH ONE DAY I WAS ASKED TO TAKE A GUY UP IN THE HAND CRANKED LIFT. I WAS AFTERWARDS ASKED IF I KNEW WHO THE GUY IS AND I WAS ASTOUNDED TO BE TOLD THAT IT W WAS SIR ARTHUR BLISS, THE THEN MASTER OF ROYAL MUSIC. I MADE UP ORDERS OF SHEET MUSIC, MADE TEA AND WALKED TO MANY MUSIC PUBLISHERS TAKING AND COLLECTING SHEET MUSIC. SOME LUNCH TIMES WE LISTENED TO MUSIC ON A RADIO GRAM IN OUR RESAT ROOM AND I REMEMBER HEARING FOR THE FIRST TIME, THE RITE OF SPRING BY I STRAVINSKY. I ALSO PLAYED THE GRAND PIANO UPSTAIRS AND MET ONE OFTHE OWNERS OF NOVELLOS, A MEMBER OF THE LITTLETON FAMILY THEN, AND SWE CHATTED. THOSE WERE THE DAYS, 57 YEARS AGO.
I discovered this wonderful work when I was about seventeen and struggling with being a young composer in the late seventies. This was the sort of music I longed to write - broad-arched, sweeping melodies, exciting dissonance rather than continual dodecaphonic tunelessness. I still get goosebumps at the cascade leading into the stirring second subject at 1.17. There I go again. What composer of 1977 could admit to liking 'stirring' music?
+Andrew Lowe-Watson I was drawn to it from Things to Come - supposedly he composed this after a frustrating experience scoring that film, which might explain why it's so energetic.
nice flowing music,,,, reminds me of walton, and more modern elgar... bravo!
IN 1961 AT 17 IN MY FIRST JOB AFTER SCHOOL WORKING FOR NOVELLO AND CO WARDOUR STREET LONDON, RETURNING FROM LUNCH ONE DAY I WAS ASKED TO TAKE A GUY UP IN THE HAND CRANKED LIFT. I WAS AFTERWARDS ASKED IF I KNEW WHO THE GUY IS AND I WAS ASTOUNDED TO BE TOLD THAT IT W WAS SIR ARTHUR BLISS, THE THEN MASTER OF ROYAL MUSIC. I MADE UP ORDERS OF SHEET MUSIC, MADE TEA AND WALKED TO MANY MUSIC PUBLISHERS TAKING AND COLLECTING SHEET MUSIC. SOME LUNCH TIMES WE LISTENED TO MUSIC ON A RADIO GRAM IN OUR RESAT ROOM AND I REMEMBER HEARING FOR THE FIRST TIME, THE RITE OF SPRING BY I STRAVINSKY. I ALSO PLAYED THE GRAND PIANO UPSTAIRS AND MET ONE OFTHE OWNERS OF NOVELLOS, A MEMBER OF THE LITTLETON FAMILY THEN, AND SWE CHATTED. THOSE WERE THE DAYS, 57 YEARS AGO.
LITERALLY THE MOST UNREADABLE PIECE OF POOP I'VE EVER SEEN IN MY LIFE! CAN YOU WRITE WITHOUT CAPS LOCK ON?
I discovered this wonderful work when I was about seventeen and struggling with being a young composer in the late seventies. This was the sort of music I longed to write - broad-arched, sweeping melodies, exciting dissonance rather than continual dodecaphonic tunelessness. I still get goosebumps at the cascade leading into the stirring second subject at 1.17. There I go again. What composer of 1977 could admit to liking 'stirring' music?
+Andrew Lowe-Watson I was drawn to it from Things to Come - supposedly he composed this after a frustrating experience scoring that film, which might explain why it's so energetic.
Lots could. This idea they were all against 'stirring music' is mythology. I was there too.
The last movement was very impressive. Great inventiveness.
Not as "splashy" as Arnold or as serious as Alwyn, this music has an engaging charm and panache that is totally winning.