Who are the composers?

[A Lark Ascending]

From an interview with a composer:

Interviewer: I would be interested in hearing your impressions of (name of composer and work recent at that time) which I believe you listened to in a broadcast recently.

Composer: Oh, interesting. He makes rather odd sounds. I liked the little clusters of sounds he obtained from the piano, celesta and the other instruments he used. It was very difficult to make anything of it. I don't know anything about the twelve-note system you know. It seems to me it destroys the composer's freedom of choice over his material, but I wouldn't like to criticize it without understanding it. Everybody seems to be turning that way today, even Stravinsky. I'd like to know something about it as a matter of interest because I'm always interested in new trends in music. But I think it may only be a phase. Of course it's not possible to shock the ears any more these days. (The composer being discussed)'s sounds didn't shock me, but I found them interesting.

Who is the composer speaking; and who is the composer whose work is being discussed?

Edited May 14, 2015 by A Lark Ascending

[David Ayers]

He's talking about Boulez but could be anyone - George Lloyd maybe? Though I think he did try twelve-tone.

[A Lark Ascending]

Correct on Boulez.

The interviewee was John Ireland in his early 80s, just before he died. Part of an interesting interview from the very early 1960s - Ireland always comes across a bit fuddy-duddy (I once read a bio where it was said he used to post his laundry to someone to get it washed!). Given his music is from a completely different world from Boulez it was nice to see his openness (despite his admitted bewilderment).

The piece was Improvisation sur Mallarme II.

[David Ayers]

John Ireland. Well well. Nice piano concerto...

[Larry Kart]

I like a lot of Ireland. Gifted American pianist-composer Robert Helps was a big Ireland fan.

[sgcim]

I have the 2 CD Chandos set of his Chamber Works; some great music there. Looks like he was right thankfully about it being a phase.

His work and the work of his contemporaries, Bax, Walton, Delius, Britten, Warlock, Vaughn-Williams, etc.. weren't just 'phases'.

Edited May 15, 2015 by sgcim

[A Lark Ascending]

I prefer to think of it as a different flavour rather than a phase. The problem in the mid to late-20thC was that it was often presented as 'the future'. Understandable in the historic circumstances.

The quote comes from this book:

A collection of essays about various aspects of his work and life.

I've long enjoyed his orchestral, choral chamber and piano music. What makes him especially distinctive is his relative lack of interest in folk music. Gives his music a different flavour to many English contemporaries.

I read a bio about 25 years back. What was not mentioned there was his fascination with choirboys. More than a little disturbing to read justifications of this interest based on the ancient Greeks. No suggestion from what I've read so far that the infatuations ever led to anything physical. Certainly gives a different perspective to 'The Holy Boy'.