Dances wrote:
From what I have gathered...it was money that stood in the way of him indulging in his modern classical side more than he did. Frankly (pun intended)...an orchestra is pricier than a rock group was the impression he put across in interviews...not to mention dealing with that many more egos and hence...attitudes. For myself...I love his classical works and his other instrumental pieces...maybe more so than the lyrical things (which is not to say I don't dig that side as well.) Wish I could write that intricately.
Yes, that's correct. It's part of the downside to him largely being an outsider to the classical community in his day (apart from Boulez and Nagano)
There are many brilliant pieces that should be re-recorded. I was never satisfied with the recordings on the LSO volumes, it sounds too dry and lacking in vital dynamics to me. The best version of
Pedro's Dowry, I think is actually the bootleg of "A Zappa Affair", which has more emphasis on the percussion and overall textures (outside of the ostinato part).
I feel satisfied with the
Yellow Shark CD but it was recorded live, which leaves various little miking issues with me.
I don't like
Bogus Pomp as a whole (both versions), it doesn't feel like a coherent part and there are moments from the 200 motels score that I would not have included in it (as you can see from my version).
Mo's and Herb's Vacation I feel is possibly his greatest classical work, but again the LSO recording in and of itself, is not satisfactory.
It's a massive piece exploring lots of very awesome areas and can actually be taken as a "serious" work too, great Vareseian moments and it covers the whole spectrum.
I like
Envelopes, it reminds me of late Messiaen. Quite an atmospheric piece, when played by an orchestra!
Sad Jane is another piece I don't like all that much, it's not bad but I can personally pass it. Her counterpart
Bob In Dracon is slightly more interesting but not as impressive compared to the former classical works.
I Have Seen The Pleated Gazelle is also one of my absolute favorites, which is also derived from the 200 Motels score (or more realistically written at the same time but ended up being included in parts on the soundtrack). It has some very impressive Webernian vocal writing and a hilarious spoken script/text, I love that one!
There are a few thoughts there
