Minor, of course, not in stature but in fame. I have to admit that I do not know much about Arthur Lourié’s music which is why it is rather pleasant to come across it once in a while and attempt to “get into it” so as to cover the bases of a pretend intellectual man of letters…
Lourié was born in Russia and later immigrated to Europe and then USA. He died in of all places New Jersery. Lourié served as a head of the music division under Lunacharskii (in the Commissariat of People’s Enlightenment).
Here are some nice pieces I found on YouTube (needless to say, I like the later stuff more than the earlier stuff – and Lourié seemed to have returned to classicism in 1930s – but it is all very nice nonetheless): Continue reading →
Awesome, right. The only problem is that, it appears, that the author simply threw this at the bottom of the text as if the magic formula works in and of itself. Well, I don’t think it does. I believe you have to register your blog post with the Copyright Office and pay a fee. Copyright Act was written and passed before blogs, so it is an interesting and tricky question. You certainly cannot just claim you have the copyright to stuff, can you?
I am quite certain that the brain behind Figure/Ground – Laureano Ralon – who at one point hilariously listed all the schools he has been accepted to and uploaded the acceptance letters to his then individual blog, did not in fact do any copyrighting. And this is just for show – look, we are a real publication with copyright claims!
(Actually a couple of letters are still linked to in his bio – who does that?)
The easiest way to test my theory that Figure/Ground did not in fact register their blog (or individual blog posts) with Copyright Office and are therefore claiming copyright where none exists (blogs are not considered “published materials”), thus violating the law they claim is on their side, would be to republish their interview (or interviews) and wait for a “cease and desist” letter. But I am too lazy to do so.
“I have discovered that it is enough when a single note is beautifully played.” The musical world of the Estonian composer Arvo Pärt has long existed in a curious state of tension, balancing the hermit-like aura of the composer himself, and the outstanding commercial success his music has achieved since the 1980s.
In Tallinn during the 50s, Pärt’s subversive serialist experiments attracted the critical eye of the regime. Exhausted by state censorship, Pärt drifted towards writing for Soviet films, but at the same time his personal musical language was undergoing a profound transformation; his music absorbed lessons learned from his study of Franco-Flemish choral music, Gregorian chant and ultimately the sound of the Orthodox Church. Where once his serialism was denounced as decadent, now his new religiosity was in flagrant defiance of state atheism. His music existed in a state of “time and timelessness”, bathed in the sound of fading…