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Donatoni Revisited Author(s): Michael Gorodecki Source: The Musical Times, Vol. 134, No. 1806 (Aug., 1993), p. 428 Published by: Musical Times Publications Ltd.

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Donatoni Revisited Author(s): Michael Gorodecki Source: The Musical Times, Vol. 134, No. 1806 (Aug., 1993), p.09/2013 02:57 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, re searchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org " id="pdf-obj-0-32" src="pdf-obj-0-32.jpg">

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0 0

0 0

0 0

xx

0 0

a

a

Putting

Putting

the

the

record

record

straight

straight

So the National Heritage Committe has

So the National

Heritage

Committe has

published its

published

its

report on CD pricing and has

report

on CD

pricing

and has

publicly

publicly

crucified the

crucified the

record industry.

record

industry.

The

The

report itself

report

itself

is

is

a disgrace.

a

disgrace.

It is badly

It is

badly

argued, badly written, and its authors

argued,

badly

written,

and its authors

reveal a lack of understanding and sympa-

reveal a lack of

understanding and sympa-

thy so profound that one can only wonder

thy

so

profound

that one can

only

wonder

what on earth

what on

earth they

they

have been doing since

have been

doing

since

they were appointed last July. The results

they

were

appointed

last

July.

The results

will be

will be

catastrophic. At

catastrophic.

At

a time when record

a time when record

companies everywhere are desperately

companies everywhere

are

desperately

searching the horizon for a sight of the oft-

searching the

horizon for

a

sight

of the oft-

promised but much delayed green shoots of

promised but much delayed green

shoots of

recovery, the report will

recovery,

the

report will

help

help

cofirm the

cofirm the

cli-

cli-

mate of

mate of

suspicion and cynicism on

suspicion

and

cynicism

on the

the part

part

of

of

the consumertowardsthe music business.

the consumertowardsthe music business.

At best, sales will be lost.

At

best,

sales will be lost.

At worst, more

At

worst,

more

retailers, record compaies and

retailers,

record

compaies

and distributors

distributors

will go out of business, jobs will be lost,

will

go

out of

business, jobs

will be

lost,

and the record buyer will be left with a

and the record

buyer

will

be left

with a

musical diet of compilations and Vivaldi's

musical diet of

compilations

and Vivaldi's

Four seasons.

Four seasons.

Sadly, much of

Sadly,

much of the

the damage done is

damage

done is irre-

irre-

versible.

versible.

But the industry,having blatantly

But the

industry,having blatantly

failed

failed

to

to

put its

put

its

case

case

to the Heritage

to the

Heritage

Committee, must

Committee,

must

now address a

now address a

larger and

larger

and

ultimately

ultimately

more important jury - the

more

important jury

-

the

record-buyingpublic.

record-buyingpublic.

In particular, classi-

In

particular, classi-

cal music lovers must understandthe com-

cal music lovers must understandthe com-

mercial realities involved in producing

mercial

realities involved

in

producing

classical records. The classical sector of

classical records.

The classical sector of

the market accounts for around 10% of

the market accounts for around 10% of

overall business, but deduct from this fig-

overall

business,

but deduct from this

fig-

ure

ure

sales

sales

of

of

the

the

'favourtite classical

'favourtite classical

bits',

bits',

compilations and 'crossover' titles from

compilations

and

'crossover' titles from

operatic superstars which dominate the

operatic superstars

which dominate the

classical

classical

bestsellers, and the

bestsellers,

and the

market share

market share

for serious classical music is

for serious classical music is

small indeed.

small indeed.

Many projects cost tens of thousands of

Many projects

cost tens of thousands of

pounds to produce, and it can be years

pounds

to

produce,

and it

can be

years

before

before

any return is

any

return is

seen on this invest-

seen on this invest-

ment.

ment.

Making classical records is

Making

classical records is

a high-

a

high-

risk, high-investment business, and whilst

risk, high-investment business,

and whilst

we.would all like the things we buy to be

we.would all like the

things

we

buy

to be

cheaper, record buyers

cheaper,

record

buyers

must recognise that

must

recognise

that

without realistic pricing levels, many of

without realistic

pricing levels,

many

of

the more interesting recordings will in

the more

interesting

recordings

will in

future simply not be made.

future

simply

not be made.

ANDREWDALTON

ANDREWDALTON

harmoniamundi

harmoniamundi

428 428

Donatoni

Donatoni

revisited

revisited

In

In

my

my

articleon FrancoDonatoni

articleon

FrancoDonatoni (MT,May

(MT,May

1993),

1993),

certain errors crept

certain errors

crept

into the text and

into the text and

music

music

examples which

examples

which

require clarification.

require clarification.

The German writer Heinrich von Kleist

The

German writer Heinrich von

Kleist

should be

should be

described as

described as

early 19th-century;

early 19th-century;

his work on puppets, more an extended

his work on

puppets,

more an extended

essay

essay

than a tale (my thanks to David

than a tale

(my

thanks

to David

Osmond-Smith for bringing this to my

Osmond-Smith for

bringing

this to

my

attention). The music-diagram at the top of

attention).

The

music-diagram at the top

of

p.247 should be read alongside the music

p.247

should be read

alongside

the music

example, from Nidi,

example,

from

Nidi,

at the bottom of

at the bottom of

p.249.

p.249.

Within the diagram itself the last note at the

Within the diagram itself the last note at the

bottom right should be

bottom

right

should be G#.

G#.

As for the other

As for the other

examples, the one on p.248, referredto in

examples,

the one on

p.248,

referredto in

the text above is Ex.1, from Spiri.

the text above is

Ex.1,

from

Spiri.

Ex.2

Ex.2

should be the music seen immediately

should be the music

seen

immediately

below the mention in the text of Ex.3,

below

the mention in the text

of

Ex.3,

which is the

which

is

the

opening of

opening

of the

the stringquartet Le

stringquartet Le

souris sans sourire (1988).

souris sans sourire

(1988).

The kind of

The kind of

dry, stacatissimo writing referredto

dry,

stacatissimo writing referredto

in Ex.3

in Ex.3

may

may

be

be

found in

found in

many works;

many

works; of

of the works

the works

illustrated:Nidi

illustrated:Nidi

provides the

provides

the best

best example.

example.

However I would also refer readers

However

I

would

also

refer readers espe-

espe-

cially to Cadeau,Flag, Blow and Hot.

cially

to

Cadeau,Flag,

Blow and Hot.

MICHAELGORODECKI

MICHAELGORODECKI

LondonEl 7

LondonEl 7

The The Musical Musical Times Times August August 1993 1993
The
The
Musical
Musical
Times
Times
August
August 1993
1993

2 2

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z o

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