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| Letters: Oliver Knussen’s music was supremely ordered | Letters: Oliver Knussen’s music was supremely ordered |
| (6 months later) | |
| The house that Oliver Knussen had at Snape, Suffolk, was once described on Radio 3 as a chaotic mass of scores, recordings, books and objects of all kinds. Disorder, in short. But his music was supremely ordered, consisting mostly of skilful but smallish pieces. | The house that Oliver Knussen had at Snape, Suffolk, was once described on Radio 3 as a chaotic mass of scores, recordings, books and objects of all kinds. Disorder, in short. But his music was supremely ordered, consisting mostly of skilful but smallish pieces. |
| Among the best of these is Ophelia Dances for orchestra and Ophelia’s Last Dance for piano. His musical tribute to his wife on her death, Requiem: Songs for Sue (2006), inspired some of his finest musical invention and has a powerfully expressive structure.Meirion Bowen | Among the best of these is Ophelia Dances for orchestra and Ophelia’s Last Dance for piano. His musical tribute to his wife on her death, Requiem: Songs for Sue (2006), inspired some of his finest musical invention and has a powerfully expressive structure.Meirion Bowen |
| Michael Vyner, the artistic director of the London Sinfonietta until his death in 1989, told me he once asked Oliver Knussen what it had been like, as a very young composer, to meet Igor Stravinsky. Knussen had replied, “All I could think was: this man saw Tchaikovsky.”Keith Salway | Michael Vyner, the artistic director of the London Sinfonietta until his death in 1989, told me he once asked Oliver Knussen what it had been like, as a very young composer, to meet Igor Stravinsky. Knussen had replied, “All I could think was: this man saw Tchaikovsky.”Keith Salway |
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