Dübendorf : Radulescu's ‘Cinerum’
Identifieur interne : 000783 ( Istex/Corpus ); précédent : 000782; suivant : 000784Dübendorf : Radulescu's ‘Cinerum’
Auteurs : Bob GilmoreSource :
- Tempo [ 0040-2982 ] ; 2005-07.
Abstract
One of the consequences of the extreme paucity of new music broadcasting in Britain is that it is extraordinarily hard to keep up with the output of the major creative talents working in continental Europe. If we leave aside the already-canonical elder figures, only a handful of composers get anything like reasonable coverage (depending on one's definition of ‘reasonable’ — can one new work in four or five really be considered sufficient?). Others seem to have dropped out of listening range altogether. Such is the case with the Romanian-French composer Horatiu Radulescu, now 63 and by any standards one of the most fascinating and individual creative figures of his generation, whose music has been shamefully neglected by the BBC for more years than anyone would care to mention. Besides the usual sorts of prefabricated excuses why this is so (so many composers, so little available broadcast time), one speculates about further reasons. Is Radulescu's music considered simply too weird, too extreme, for Radio 3 listeners? Yes, his pieces are sometimes quite long; yes, they sometimes have strange titles (Capricorn's Nostalgic Crickets; Dizzy Divinity, I; Dr Kai Hong's Diamond Mountain); yes, they are sometimes not easy to digest at one listening. But isn't exposure to the cutting edge of the performing arts one of the things we should reasonably expect from our broadcasting media, especially in the case of a radical artist of such distinction and achievement?
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DOI: 10.1017/S0040298205230231
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Yes, his pieces are sometimes quite long; yes, they sometimes have strange titles (Capricorn's Nostalgic Crickets; Dizzy Divinity, I; Dr Kai Hong's Diamond Mountain); yes, they are sometimes not easy to digest at one listening. But isn't exposure to the cutting edge of the performing arts one of the things we should reasonably expect from our broadcasting media, especially in the case of a radical artist of such distinction and achievement?</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Bob Gilmore</name></json:item></author><arkIstex>ark:/67375/6GQ-SHV1VZM8-R</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>book-review</json:string></originalGenre><abstract>One of the consequences of the extreme paucity of new music broadcasting in Britain is that it is extraordinarily hard to keep up with the output of the major creative talents working in continental Europe. 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If we leave aside the already-canonical elder figures, only a handful of composers get anything like reasonable coverage (depending on one's definition of ‘reasonable’ — can one new work in four or five really be considered sufficient?). Others seem to have dropped out of listening range altogether. Such is the case with the Romanian-French composer Horatiu Radulescu, now 63 and by any standards one of the most fascinating and individual creative figures of his generation, whose music has been shamefully neglected by the BBC for more years than anyone would care to mention. Besides the usual sorts of prefabricated excuses why this is so (so many composers, so little available broadcast time), one speculates about further reasons. Is Radulescu's music considered simply too weird, too extreme, for Radio 3 listeners? Yes, his pieces are sometimes quite long; yes, they sometimes have strange titles (Capricorn's Nostalgic Crickets; Dizzy Divinity, I; Dr Kai Hong's Diamond Mountain); yes, they are sometimes not easy to digest at one listening. 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Yes, his pieces are sometimes quite long; yes, they sometimes have strange titles (<italic>Capricorn's Nostalgic Crickets</italic>; <italic>Dizzy Divinity, I</italic>; <italic>Dr Kai Hong's Diamond Mountain</italic>); yes, they are sometimes not easy to digest at one listening. 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Yes, his pieces are sometimes quite long; yes, they sometimes have strange titles (Capricorn's Nostalgic Crickets; Dizzy Divinity, I; Dr Kai Hong's Diamond Mountain); yes, they are sometimes not easy to digest at one listening. 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