The keller bradshaw letters a new way of communicating musicb3 blog electricity a level physics

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I can’t remember when I have enjoyed reading a series of letters quite so much as those between Hans Keller and Susan Bradshaw (although perhaps those between Keller and Robbins Landon in the 1950s run a close second). bp gas prices akron ohio The meeting of minds is immediately evident and their back-and-forth full of energy, insight and honesty. Naturally the focus is on music, and predominantly contemporary music, but the topics range far and wide from reorganisation at the BBC, to the Falklands War, music education and the current preoccupations professionally of each.

Bradshaw was herself a respected pianist, specialising in contemporary music, as well as a teacher, writer and translator. gas delivery She had studied with Boulez in Paris after her time at the Royal Academy and subsequently translated with Richard Rodney Bennett his Penser la Musique Aujourd’hui [9409.d.367], ( Boulez on Music Today, 1971. M489.c.95.25). She was one of the founding members of the Park Lane Group and, with soprano Jane Manning, of the Vesuvius Group – both ensembles specialising in contemporary music.

Naturally they kept in touch, developing a unique way of writing to each other which became quite an art form. This arose from Keller’s habit of sending a letter back to Bradshaw with his responses to her points (as he did with others he knew well such as Peter Norris at the Menuhin School). electricity cost per watt In a letter which he sent her on 11 Mar 1981 she responds in kind writing “Hans – Taking a leaf out of yr. book!” He, in his turn uses the same letter to reply once again, setting out what would become their standard way of writing to each other:

“Milein [Keller’s wife] is speechless, but I think this is wonderful – a real, substantial conversation, with each of one’s notable points noted and developed when nec. or desirable. e85 gasoline The trouble is that it can’t be continued ad infinitum – tho’ one c’d, of course, dvp a special technique, with plenty of marginal space in the original, & additional space where one w’d like, or expect, the other to react. Conscientiously dvped, the method c’d prove more substantial & functional than either conversation or normal correspondence.”

Bradshaw rises to the occasion beginning their next exchange on 21 March in the middle of the back of an A2 poster advertising a concert in Holland of quarter-tone piano music by the Russian composer Ivan Vïshnegradsky – noted for his microtonal works – in which she had recently taken part. “Right!” she writes “Here begins a properly outsize correspondence!” Keller responds in black pen “Wonderful: trust Susan to turn wishful fantasy into reality…Who knows, we might start a new convention. With photocopying becoming ever easier, even the problem of copies might be thus solved. electricity physics test And what a present to anybody – whether participants or posterity – who wants to study a correspondence”. Bradshaw then replies in green ink on April 6th, after which, I confess dear reader, I get lost – (although of course Keller and Bradshaw wouldn’t have done!). electricity in the body The conversation ranges from Vïshnegradsky, via Peter Maxwell Davies’s latest symphony to Shostakovich. How they would have relished email!

“P.S. k gas station You may remember my aside that Deryck Cooke was ‘my best musical friend’. That was before you came in. In my whole life, I’ve only had 5 ‘best’ with whom, at least in some respects there was/is TOTAL understanding: Oskar Adler, Deryck Cooke, you, Mátyás [Seiber], Britten (believe it or not). Only? P’haps that’s a lot….I’m near the letter-box & can’t open it again! O God!”