"perfect subversion of a classic brave-new-world dynamism phrase. The"tomorrow" I imagine here is the antithesis of that which the BBC inthe 60s made much play of promoting to its audience; instead, it couldeasily be some kind of dystopia, a state of decay or de-evolution."
The TV series for which it was written was.
In July-Sep 1968, she created two potential signature tunes for"The Living World",a television series produced by Robina Gyle-Thompson,both of which were rejected by the programme's maker John Sparks in Augustin favour of a "jazz theme".
All you fucktards crying CP, get a fucking clue & try peeking out of your confessional long enough to realize that there's other cultures in this world.
Shortly after the principal themes plaintive first appearance from both orchestra and soloist, it is transformed into a march-like second subject (sounding for all the world like an entirely new idea), and then in the central development section magically cast in a distant A flat major into a flowing passage of dreamlike rapture.
Completed in 1948, it is, among other things, a massively violent but also massively fruitful collision of two musical worlds to which the composer still in his early 20s was drawn, the worlds of his teacher Messiaen and of Schoenberg.
A note in her papers (DD073025) says that 1 minute 18 seconds of her music for"Travelling in Winter" (TRW 7417) was renamed "Dreaming"for issue as track 17 of the BBC record of sound effects "Out Of This World".
"She even recorded a score for an ICI-sponsored student fashion show,which was the first in the world to use electronic music."
The concert programme described it as "A presentation of menswear styles in bri-nylon, terylene and crimplene designed and made up by students of the Fashion School of the Royal College of Art" on 6th April 1967.
The music is included in the Attic Tapes and is a collage of her otherpieces, artfully blended and reworked to transition from one to the next.
This is the electronic soundtrack realised with Elsa Stansfieldfor the 32-minute film "Circle of Light: The Photography of Pamela Bone"directed by Anthony Roland, which won the Short Film Art Section of the.
The music is a gentle half hour of real and electronic seascapes and birdsongon a evolving background of shaped noise, introducedand signed off by variants of the "lampshade" sound used in Golden Veils.
(The accompanying film is a sequence of wobbly zooms and pans on bleakseaside and woodland photographs, some of them beautiful.)
This is by far the longest surviving single piece of her music.
During the period immediately following Beethovens death, an age dominated by the musical realization of dreams and worlds both real and imaginary, no one dreamed with quite the intensity and tangibility of Schumann.
Loose ends are ends in themselves: the pieces seem to be hovering on the edge of a new world, or boldly venturing into that world in the case of the extraordinary final study in octaves, marked by rhythmic impulses Debussy drew into his music in admiration of the young Stravinsky.
Everything was apparently perfectly captured on tape, and yet Pollini, oblivious to the world around him, continued to wrestle with each agogic and dynamic nuance, however slight, in order to arrive at a definitive rendering, oriented to the text alone and unmarred by any personal idiosyncrasies.