Wednesday, August 05, 2020

Ferdinand Rebay: Sonate in einem Satz, performances by Luiz Mantovani (who finished a dissertation on Rebay recently) and by Eduardo Fernandez

Because this is also a blog that focuses on music, and started off with that aim, there's more performances and recordings of Ferdinand Rebay going on, particularly of his Sonata in one movement. Links below

Justin Dean interview with Jeff Cox

We'll get to this in time, I hope, but for now links will suffice.  Conversation directly pertinent to the history of Mars Hill starts about 30 minutes in.  This adds some pertinent background to the information shared by Turner and Bruskas in their conversation with Throckmorton but it will take some time to go through all the material to explain what is new, even though it won't seem new to people who will feel like they've heard it all before on the one hand and will seem absurdly arcane inside baseball to people who don't have twenty years worth of history observing the scene.  Sorry about that, that's just the nature of this kind of project.  Anyway ... links

per past stated policy, comments always automatically go into moderation and are not necessarily ever published.  That's more applicable now that I'm in the process of cross referencing interviews and incubating some thoughts on a few things that have finally been shared on the record.

Sunday, August 02, 2020

postlude to Throckmorton interview with Turner and Bruskas: Justin Dean tweets links to interview, discovers he's been blocked by Driscoll

Now I've written that I loathe Twitter in general and refuse to use it. This does not mean I don't keep track of things on Twitter that seem relevant to me.  So, for instance, it did not pass unnoticed that Justin Dean tweeted links to Warren Throckmorton's interview with Sutton Turner and Dave Bruskas.

Norman Lebrecht gets Phil Ewell on my radar by ranting about him, reminds me why I'm glad I didn't go to grad school in music

Well ... it's as though Norman Lebrecht has this penchant for introducing me to musicologists by ranting about them that, had he not ranted about them, I might never have heard of them.  Whereas I think Haydn is the bee's knees and that both Beethoven and Mozart were above average but terribly over-hyped, Lebrecht seems to treat it as actually blasphemy against art-religion to say Beethoven was a better than average composer who benefited from fitting into the mainstream of his time and place (i.e. by being a white guy).