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Bryn
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« Reply #30 on: 20:08:38, 19-07-2007 » |
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SusanDoris, I only have Lill and Rachmaninov in the concertos on CD, should I add the Ashkenazy?
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Bryn
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« Reply #31 on: 20:20:49, 19-07-2007 » |
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No need for a reply, I've just ordered this. |
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martle
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« Reply #32 on: 21:51:52, 19-07-2007 » |
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No need for a reply, I've just ordered this.Bryn, IMO you've done a very good thing there.  |
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Green. Always green.
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rauschwerk
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« Reply #33 on: 07:28:53, 20-07-2007 » |
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My choices would be: No 1 - Janis (still stunning after all these years); No 2 - Ashkenazy/Previn; No 3 - Janis/Dorati (though the sound is rather dated now - any other suggestions?); No 4 - Michelangeli (though I recently heard Hough's recording and liked it a lot); Rhapsody - Ashkenazy/Previn (though the composer's version is also essential to me).
Does anybody else find anything 'spiritual' in the passage Mr Grew quotes in post 1? I don't, though I have always thought it beautiful.
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Bryn
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« Reply #34 on: 07:51:47, 20-07-2007 » |
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No need for a reply, I've just ordered this.Bryn, IMO you've done a very good thing there. It's a funny old world, rauschwerk. I very nearly bought the Askenazy suyrvey of the works for piano and orchestra, on cassette, back in 1974, when living in Cardiff during a poitical stint. I had shortly previously sold almost all my LPs to raise funds to attend a study course in Dublin. However, in the event, I only got Ashkenazy's Beethoven concertos from the same Decca boxed cassettes series. At that time, I had not been fully converted to Rachmaninov. That job was effectively carried out a couple of years ago by the pianist John Tilbury, who was spinning a recording of the 3rd (not his own playing) during a visit. His eloquent expressions of enthusiasm for the work got me listening more closely. The strange thing is that the same JT was visiting with me in Cardiff around the time I got the Beethoven and rejected the Rachmaninov set. If only he had proselytized in Rachmaninov's favour at that time ... <whistle> |
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Bryn
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« Reply #35 on: 07:57:31, 20-07-2007 » |
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Oops, sorry martle and Rauschwerk. I got my quote attributions in a bit of a twist there. By the way, Rauschwerk, I used to have the Janis recording of the 1st on LP in my youth, (bought in a 'job lot'), and do rememeber secretly enjoying it.
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rauschwerk
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« Reply #36 on: 10:06:26, 20-07-2007 » |
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By the time I became aware of this marvellous LP it had been deleted in this country but, quite by chance, I came across a copy in Lugano. Incidentally, this recording was very nearly lost to the world. It appeared on CD in 1994, heving been out of the catalogue for some 30 years. It seems that Mercury lost BOTH the 35mm and 3-track tape masters, and the CD was mastered from a 1/4 inch tape owned by Wilma Cozart. Fortunately it sounds great, at least to my no longer youthful ears.
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Sydney Grew
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« Reply #37 on: 15:08:22, 20-07-2007 » |
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. . . may we ask Member Grew, what would Brahms have said? In a remarkable achievement Member Pace has with this throw-away question sown in our mind a first seed of doubt about the supremacy of Brahms. For after examining the late piano pieces we have found several points at which the composer indeed used the half-diminished seventh in passing, but none where he laid any particular emphasis on the combination. In that he was we suppose rather like Beethoven, another man who did not much use it. Brahms did though publish a good many curious sounds, many arising from suspensions as in the third bar of this example.  Chopin on the other hand, as Member Daniel in reply 18 has rightly reminded us, was very fond of it. Here is Brahms's 1869 arrangement of a Chopin Study; he has added a few muddying notes of his own, but the wonderful chord is still there in the second bar.  |
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thompson1780
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« Reply #39 on: 16:40:15, 20-07-2007 » |
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. . . may we ask Member Grew, what would Brahms have said? In a remarkable achievement Member Pace has with this throw-away question sown in our mind a first seed of doubt about the supremacy of Brahms. "From little acorns mighty oaks may grow" Not that I would wish Brahms to be relegated to a lower division, but it is wonderful to see an open mind in action. if there is a revision to your seven steps to heaven / 7 circles of hell, please let us know. Many thanks, and good wishes for your reconsiderations Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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SusanDoris
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« Reply #40 on: 19:08:08, 20-07-2007 » |
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SusanDoris, I only have Lill and Rachmaninov in the concertos on CD, should I add the Ashkenazy?
Hmmm - that's a difficult question! I do not feel qualified to recommend whether or not to buy, but as far as I am concerned, I have never heard a more catch-at-the-heart performance than Ashkenazy's (with André Previn that is, not the one with Bernard Heitink). Volodos's performance, especially as it is live, is un-put-downable ... or, as it's a CD, it is the sort of performance that once I start listening to, I can't do anything else until it finishes. Can you spend an hour listening to both in a shop? The CD I have on the player at the moment is a Corelli concerti Grossi, but I think I'll have to go and get the Rach 3 CDs to listen to tomorrow! |
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SusanDoris
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« Reply #41 on: 19:11:48, 20-07-2007 » |
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No need for a reply, I've just ordered this.I did not see this post until I had posted in response to the previous one! I shall be most interested to hear what you think of the set (I do in fact have this boxed set). |
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roslynmuse
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« Reply #42 on: 20:13:02, 20-07-2007 » |
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Don't forget Argerich in the 3rd concerto; actually I have sat through some indifferent performances of the piece as a whole only to be buoyed up to the point of ecstasy by the last two minutes...
No-one has mentioned the Cello Sonata yet...!
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FisherMartinJ
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« Reply #43 on: 22:03:18, 21-07-2007 » |
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Somebody has!
[This sentence definitely does NOT contain the phrase "Rachmaninov Cello Sonata"!]
I've always thought the 1st mov't a lot less interesting than the rest. Should I get mon pardessus?
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'the poem made of rhubarb in the middle and the surround of bubonic marzipan'
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Chafing Dish
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« Reply #44 on: 02:46:39, 23-07-2007 » |
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For after examining the late piano pieces we have found several points at which the composer indeed used the half-diminished seventh in passing, but none where he laid any particular emphasis on the combination. In that he was we suppose rather like Beethoven, another man who did not much use it. Brahms did though publish a good many curious sounds, many arising from suspensions as in the third bar of this example.
The Member Grew has probably already taken no small delight in the penultimate harmony of op. 118 no 1, a half-diminished with a 7-6 suspension (producing what we call a kind of French sixth chord, though not functioning that way)  |
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« Last Edit: 05:03:17, 23-07-2007 by Chafing Dish »
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