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Chafing Dish
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« Reply #30 on: 20:26:53, 06-07-2007 » |
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Some of it appeared on the short-lived Decca 'enterprise' series which dates from around 1991. I have one; the Christ Church Cathedral Choir/Simon Preston recordings of the Stravinsky Symphony of Psalms, Canticum Sacrum and Mass couples with the four Poulenc Penitence motets. The middle pages have pictures of other discs in the same series, including Berio's A-Ronne and Cries of London, the Mary Thomas Pierrot Lunaire, the Dorati Messaien Transfiguration, a London Sinfonietta Ligeti disc and the Stomu Yamash'ta album which included Henze's Prison Song and Max's Turris Campanarum Sonatium; other represented composers included Frank Martin, Jana?ek, Schoenberg and Honegger.
enterprise - yes, that's the one. I had the Stravinsky album as well as my Henze, but looks like both were loaned out before I established my policy of writing down what I loan out. Both are gone. Does someone here know anyone who might have them? They're pink and bluish. Thank you... |
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keqrops
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« Reply #31 on: 00:13:17, 07-07-2007 » |
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I find Henze very frustrating...there's a lot of pieces which seem to me to be largely notespinning, and then every now and then pops up something very worthwhile. Generally, I find the pieces from his King Stag period the most consistently convincing--though some of his brief agitprop phase is unexpectedly fine.
One of my recent musical "guilty pleasures" has been a radio aircheck of Il vitalino radoppiato for violin and chamber orchestra: a shamelessly unoriginal (sometimes pseudo-Baroque) chaconne with that manages an unexpected joyous flair.
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pim_derks
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« Reply #32 on: 09:14:12, 07-07-2007 » |
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I find Henze very frustrating...there's a lot of pieces which seem to me to be largely notespinning, and then every now and then pops up something very worthwhile. That's true, keqrops. The same case with Wolfgang Rihm. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Ron Dough
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« Reply #33 on: 09:38:14, 07-07-2007 » |
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I'd have to admit that that rather mirrors my experience, too.
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Chafing Dish
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« Reply #34 on: 14:42:32, 07-07-2007 » |
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A composer whose output is as uneven as Henze's usually gets my respect for exactly that reason. He's unwilling to stand still, or was. Who is familiar with his Orpheus behind the wire, to texts by Edward Bond? I think I mentioned this somewhere before..
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Ron Dough
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« Reply #35 on: 12:09:04, 09-07-2007 » |
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The Decca 'enterprise' Henze disc (430 347-2) certainly exists: thanks to the speedy and efficient services of http://www.classicalcdexchange.co.uk/index.php Compases, Violin Concerto No.2 and Apollo et Hyazinthus now already reside chez Dough. |
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time_is_now
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« Reply #36 on: 12:25:44, 09-07-2007 » |
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Ron, just out of interest, do the notes give a translation for the phrase 'Compases para preguntas ensimismadas'?
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Ron Dough
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« Reply #37 on: 12:28:36, 09-07-2007 » |
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Ron, just out of interest, do the notes give a translation for the phrase 'Compases para preguntas ensimismadas'?
In a word, tinners: No! |
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Chafing Dish
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« Reply #38 on: 15:00:39, 09-07-2007 » |
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Ron, just out of interest, do the notes give a translation for the phrase 'Compases para preguntas ensimismadas'?
"measures (as in bars) for pensive questions" |
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time_is_now
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« Reply #39 on: 15:11:34, 09-07-2007 » |
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Gracias, CD! 'Compases' was losing me ...
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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richard barrett
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« Reply #40 on: 00:08:57, 10-07-2007 » |
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That's a lovely piece. I think I might put it on now in fact. Earlier today I listened for the first time to CDs of Apollo und Hyazinthus, which has lost none of its attraction for me as a touching example of Henze's early work, and Kammermusik 1958 which seemed far more hysterical than I remembered it. I also couldn't help thinking that the more obviously referential elements in the solo guitar were somehow out of place, unless there's a connection between Hölderlin and Spain that I'm not aware of. I haven't got around to the Second Violin Concerto yet. (The First is another of the early works I like.) I remember it being a bit of a mess.
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Chafing Dish
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« Reply #41 on: 01:22:56, 10-07-2007 » |
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I find the second Violin Concerto incredibly pretentious and goofy. That's one of my less nuanced declarations, but it fits here.
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harmonyharmony
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« Reply #42 on: 23:44:32, 22-08-2007 » |
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I've said it before but I'll say it again.
I've just listened to Tristan again and Gosh! Golly! Wow! there are some amazing moments. Quite a lot of autopilot as well IMO, but the great moments are really really great, and the autopilot bits no worse than a lot of orchestral music of the period (and actually a lot better than some). I really really want to hear it live.
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Ron Dough
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« Reply #43 on: 07:36:56, 24-08-2007 » |
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Have just arrived back - the sleeper was delayed by an hour - but this might be a good place to mention that I picked up a DG Henze box on my travels.....
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