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A composer steeped in Greek Orthodox mysticism. He once differentiated his style of music from more popular commercial music as 'the music of the self, as opposed to that of the ego'.
Yes, he sure talked a great game.
Personally, I have to agree with David Hurwitz:
http://www.classicstoday.com/review/review-5834/
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Along with Part & Gorecki he pioneered a new form of religious/spiritual music - some have called it "mystic minimalism".
Whatever the name , it will remembered as the defining form of late 20th Century classical music.
bruce x 3
See, Bruce - divine providence. That'll teach you to mock me on this type of thread.
Forgive us our sins
bruce
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A composer steeped in Greek Orthodox mysticism. He once differentiated his style of music from more popular commercial music as 'the music of the self, as opposed to that of the ego'.
Yes, he sure talked a great game.
Personally, I have to agree with David Hurwitz:
http://www.classicstoday.com/review/review-5834/
Is "david Hurwitz" a nom de plume for John Simon.
Seriously, calling Taverner "Johnny Boy"
???!!!!
brm
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Personally, I have to agree with David Hurwitz:
http://www.classicstoday.com/review/review-5834/
Well, y'know, this isn't the time, at an obituary.
The problem is, that every composer needs a strategy to fill the blank page. Film composers don't have to think WHAT they're composing about, beyond the screenplay under their noses. Tippett too used a 'Jungian' (HIS WORD, NOT MINE) approach in terms of EXPLAINING what he wrote, and it gave him an excuse for any particular piece, like 'The Masques of Time' but whether that reflects some 'reality' of the composer is something else. You have to write about something, and music is only a pointer to other things, not the things themselves.
If he was genuine in his Eastern Orthodox mysticism, then he'd want to express that in his music probably, and it's a tall order. When he says he's not using 'western' styles, he's referring to something a bit more fundamental than modal and compositional styles. He's talking about composing IN THAT MINDSET, which is different, it doesn't have to come out like Zorba the Monk. The transcendent and multi-dimensional can't REALLY be described in space/time music, only hinted at in musical metaphors... musical equivalents of visual icons as he would see it. As for the 'cliches' thing, well, as all film music afficionados know, you can't really avoid them if you want to express, and sometimes the need to avoid the cliches stems from not much more than ego anyhow.
Ultimately, it'll depend on his sincerity and the listener's taste.
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