A Musicological Study of Ken Russell’s Composer Films – Part 2 (Monitor and Bartok).

Part 1. BBC Monitor and the Use of Audio-Visual Form as Musicological Comment. The medium that Russell first gained traction in was not in fact film but in television documentaries.  The flop of his first feature film, French Dressing (1964), marks the advent of his daring creativity entering into his work as television director; a role he had begun at the BBC for their documentary … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 2 (Monitor and Bartok).

Eroticism in the Music of Béla Bartók – Part 5 (Post-Modern Pulp).

Part 1. Part 2. Part 3. Part 4. Though of course subjective, the natural Kierkegaardian immediacy of the music is instantly on show.  Several sections of brooding along these themes can be read almost as seductions, with the build-ups working easily as well as the seduction segments from The Miraculous Mandarin.  The pairs of strings that seem to roll over each other as they begin … Continue reading Eroticism in the Music of Béla Bartók – Part 5 (Post-Modern Pulp).

Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).

Part 1. Bartók as a Post-Wagnerian Composer and The Confronting of Eroticism in The Miraculous Mandarin. “Thus, at first, there came a weariness of the productions of the Romantic Period, and then, as a consequence of this weariness, a search for points of departure which represented the greatest possible contrast to those of the Romantic mode of expression.” – Bartók (1976, p.331) In the context … Continue reading Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).