Oberon wrote: › Scriabin's, 'Poem of Ecstasy' and 'Prometheus. The Poem of Fire.'

If only Scriabin hadn't died so young, having completed only a few works in his mature style. The other pieces are an attempt to fill the gap left by this loss.

Anticredos wrote: ›
I've never been able to get into Scriabin... or most work for large forces... the impersonal sound of massed instruments doesn't really do it for me. I find myself with too much mental baggage relating to film music and the pomp and circumstance of late 19C music to give myself to the actual music. The Panufnik piece (for chamber orchestra without violins) is probably the first piece for a larger ensemble that I have truly enjoyed.

BlueKephra wrote: ›

Just thinking about that, have you ever heard of the English composer John Foulds (1880-1939)? Can do no better than quote from the description in the CD booklet of the piece "Three Mantras From Avatara, op61b Of Action And Vision of Terrestrial Avatars. Of Bliss and Vision Of Celestial Avatars. Of Will and Vision of Cosmic Avatars"

"The 'cosmic' Mantra III(of Will) is marked Inesorabile (inexorable) and is some of the most barbaric and elemental music Foulds ever composed.It's also a strict modal study on a South Indian Raga, using only seven pitches (at various octave transpositions) throughout and rigorously composed in a kind of chaconne on a seven-beat subject that is present, yet always changing shape, in virtually every bar.This balefull music generates a gigantic cumulative kinetic energy, over which Foulds constructs some hair-raising polyrhythmic complexities.The culmination is a shattering explosion of controlled orchestral power."
That was composed in 1930, but was first played in 1997. Someone else ahead of his time?

Oberon wrote: › If you find Scriabin too lurid and overwrought I would recommend Debussy. According to the English composer and occultist Cyril Scott - who claimed contact with one of Madame Blavatsky's Masters - Debussy was the first modern musician to employ modes last used by the black magicians who caused the downfall of Atlantis, no less. Whether you believe that colourful story or not Debussy's music does radiate an atmosphere of magick and the numinous; several of his works having been inspired by the Great God Pan, among who's devotees will be found one Aleister Crowley.

Oscillate wrote: › Can any Killing Joke fans (Paul?) direct me to any 'must hear' albums as I only have 'Night Time' at the moment?

seajay wrote: › just curious-what age are some of the posters here and what musickal interests??do you think crowley would like donovan??ive read that crowley would have hated "hippie"culture-is that true?ac being fond of,well,recreational pharmeceutical research i wonder what his take on lsd would be-imagine crowleys commentary after taking 200 mics of owsley acid and seeing jefferson airplane!!just kidding-please list a couple of your musickal interests-ill start
3 aforementioned bands
ravi shankar-bill monroe-miles davis-bob marleyetc etcj-28-phx,az



ps-is this too off topic??

Walterfive wrote: › Well, muskically I'm very diverse. I have over 3000 CDs, and another 1500 or so LP records, and hundreds of music performance DVDs, Laserdiscs, and videotapes.

I like classical music like Mozart, Beethoven and Wagner, of course. I still play dozens of Showtunes from Musicals that I have done with various theatre companies in the pre-Army days of my youth like "Hair" and "Pippin" and "West Side Story". Musical comedy like Spike Jones, the Goons, Monty Python, Mick Conway, and all that Doctor Demento comedy pop stuff of the 20's, 30's, 40's, 50's, 60's and 70's.

I *adore* old jazz like Bix Beiderbecke, Louis Armstrong's Hot Five and Jelly Roll Morton's Red Hot Peppers, 20's & 30's Jugband and Whoopee Music, Delta blues like Robert Johnson and Son House but also Piedmont Blues like Blind Boy Fuller and Barbecue Bob Hicks...

I like 50's/60's Lounge with the Rat Pack and Bobby Darin, and 50's Rockabilly and Rock & Roll, Eddie Cochran, Buddy Holly, pre-Army Elvis, Jerry Lee Lewis, Little Richard, Bo Diddley, etc. but I also like classic rock like Pink Floyd, Led Zeppelin, Jimi Hendrix, the New York Dolls, and the MC5, appreciate so-called "Heavy Metal" like Sabbath, BOC, Rainbow, Judas Priest, Metallica until about 1990 or so, and even find some insight and value in specific Hip-hoppers like Matis Yahu and Immortal Technique (don't knock either of 'em if you haven't heard 'em).

Most other music in the last 30 years other than Punk leaves me cold. Disco, Rap, Techno, House, Hiphop, Triphop, Emo, Seattle Sound, etc... it's all product. There's little artistry to be found (with the rare exceptions like Prince, En Vouge, TLC, Divine).

I also like Hank Sr., Willie Nelson, Johnny Cash, David Allan Coe and Robert Earl Keen.

I've often wondered what Crowley thought (if he thought of it at all) of composers contemporary to him like Edgar Varese...

When I sing, (and I do, at the constant request of my friends, occasionally for audiences up to 1000 and more as an opening act or guest on-stage with my *real* musician friends,) I sing dirty blues, bawdy songs, back-room ballads, salty shantys, and what you lot in the U.K. call "Rugby Songs" often variously accompanying myself on washboard, jaw harp, foot-cymbal and jazz horn (a 20's style of kazoo); I'm a proud amateur; I never had the eye-hand-finger-coordination as a kid to learn to play anything more than a bit of piano, but since I've had friends and family who are professional musicians all my life, I understand musical composition, some music theory, chord structure, could read and write music (once upon a time) and appreciate the various incarnations of the Terpsichorian muse, but I'm unable to learn how to play more than 8 chords on a Ukelele or Tenor Banjo, so I pretty much leave it alone.

tsardaniel wrote: ›