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time_is_now
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« Reply #555 on: 21:24:07, 04-03-2008 » |
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I was most disappointed not to have any difficulty opening that Aulos box. Mine flips open with a fold-over flap at the front (that must be the worst description I've ever given of any physical operation!); maybe I got a different design from everyone else. The only thing that slowed me down even slightly was Richard's comment having led me to expect a trick somewhere.
Thanks for reminding me of the early stages of this thread, Robert. I'd forgotten some of the posts I made there, which I suppose only goes to show how far I've moved on since - although I still haven't found time to get all the way through the symphonies box.
Incidentally, if you think that's your purchase of the year I'd better not mention Kondrashin's (incomplete) Mahler cycle, also now reissued on Melodiya. Definitely my purchase of 2007!
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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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Il Grande Inquisitor
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« Reply #556 on: 21:28:52, 04-03-2008 » |
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Incidentally, if you think that's your purchase of the year I'd better not mention Kondrashin's (incomplete) Mahler cycle, also now reissued on Melodiya. Definitely my purchase of 2007!
Now, tinners, that was a key purchase for me too in 2007. I think opi got hold of a box too after I posted a pic in the Now Spinning thread! |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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oliver sudden
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« Reply #557 on: 00:17:50, 05-03-2008 » |
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I think I can safely say you don't know everything that Mahler 3 and 4 have to offer unless you've heard them sung in Russian.  (The box also has 1, 5, 6, 7, 9 - yes, it's truly splendid. As with so much else, I discovered it thanks to a Diapason cover disc...) tinners, maybe your magnet wasn't as strong as those others of us received - I also had a tricky time getting into the Aulos box in a purely physical sense (musically it was an immediate hit of course - I certainly agree with Ron that it's a must-have core set for a Shostakovich library). I can also second the Rozhdestvensky recommendation - the sound is surreal but the music still comes through. (One quirk is that the trumpets don't restrict themselves to straight mutes when Shostakovich writes con sord - they use cup mutes quite often which is nice but sometimes distracting.) Another fine Kondrashin is the live 13th - I think it's of the second performance. The Rostropovich 14th with Vishnevskaya and Reshetin is absolutely gutting and damn cheap. Cluytens' 11th on Testament is brilliant - I hadn't realised how much that piece has to offer. There are some of the Haitinks that still hold up well, too - they're not as full-throttle as the Russian recordings but that's not always a bad thing. And Barshai's 8th with... Bournemouth! Yes, really. Very high on my long list of 8s... I was on a bus going through Andalucia the other day. I was forced to whip out my ipod and listen to the Garcia Lorca poems from the 14th. Having met his nieces the previous night. That was damn weird. |
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« Last Edit: 00:20:33, 05-03-2008 by oliver sudden »
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time_is_now
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« Reply #558 on: 00:32:46, 05-03-2008 » |
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Oh I see, I thought it was working out how to open it, not just actually managing to apply sufficient physical force.
My magnet's not that strong. Just tried it a bit ago while moving the Shostakovich pile a couple of feet across the floor in order to extricate Oliver Knussen from underneath.
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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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oliver sudden
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« Reply #559 on: 00:37:30, 05-03-2008 » |
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In my case it was indeed a matter of working out how to open it - it's just that the magnet was strong enough that it wasn't entirely clear that that was actually an advisable means of ingress, if you see what I mean. I remember thinking hm, if I keep pulling on this is it going to pop open in an approved manner or tear horribly?
I hope my namesake wasn't too unhappy under your Shostakovich pile...
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time_is_now
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« Reply #560 on: 00:43:41, 05-03-2008 » |
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He's certainly happier now he can see the light (Kagel was also in the way before), although I'm not sure hes too happy about being ditched in favour of Rebecca Saunders (see other thread).  |
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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 #561 on: 07:59:41, 05-03-2008 » |
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there are others who are as disappointed by his cycle as I have been
There are on the other hand yet others who aren't! Yes, I can appreciate that, r; (though I can't understand it!)Other satellite recordings worth considering would be de Preist's Helsinki 11th on Delos ( not the remake on Ondine), another spectacularly well engineered recording of a masterful performance. Engineering-wise, EMI's earlier efforts trounce the DG sound-alike cop-outs they produced for much of Jansons's cycle pretty convincingly: apart from Cluytens's 11th they produced several symphonies with Previn, of which the 4th with the Chicago deserves a special mention; nobody (not even KK) handles the peroration and wind-down of 4(iii) better for my money. |
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Robert Dahm
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« Reply #562 on: 10:47:15, 05-03-2008 » |
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tinners, maybe your magnet wasn't as strong as those others of us received - I also had a tricky time getting into the Aulos box in a purely physical sense My magnet was just strong enough to confuse me. The main problem for me was cognitive - it looked like it was supposed to slide out vertically, rather than fold open. I tried, it didn't work. I put it down on the table and stared dumbly at it for a bit. I tried again. It still didn't work. But clearly I got there in the end. I'm nearly through listening to the whole thing. Really looking forward to doing some slightly more focussed repeated listening. I have actually been idly toying with the notion of getting yet another Mahler set. I'll be sure to look into KK. Previn, of which the 4th with the Chicago deserves a special mention The Previn 4th with Chicago has cropped up a few times in my research. Again, I'll be sure to check it out. |
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marbleflugel
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« Reply #563 on: 10:51:42, 05-03-2008 » |
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Paavo Berglunds 6 and 11 with the Bournemouth Symphony were reissued last year, sorry I can't remember the label-not time to research as I'm warming up my brain for the day job. Cool and great on detail yet with a deep heart to it I think you'd find. His 10 1st movement and 5 were masterly imho. I was a schoolkid and taught by one of the band when they were making these discs and there was a very good feeling about it.
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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George Garnett
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« Reply #564 on: 11:16:27, 05-03-2008 » |
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My magnet was just strong enough to confuse me. The main problem for me was cognitive - it looked like it was supposed to slide out vertically, rather than fold open. I tried, it didn't work. I put it down on the table and stared dumbly at it for a bit. I tried again. It still didn't work. But clearly I got there in the end.  Uncanny. That is exactly the scene that was played out here too. (Did anyone see the raccoon trying, and failing, to get into the tortoise shell on the David Attenborough 'Life in Cold Blood' programme? I knew exactly how she felt.) But I loved your redeeming idea that listening to DSCH should always require a bit of effort, Robert.  |
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« Last Edit: 11:28:06, 05-03-2008 by George Garnett »
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Bryn
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« Reply #565 on: 11:19:00, 05-03-2008 » |
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Paavo Berglunds 6 and 11 with the Bournemouth Symphony were reissued last year, sorry I can't remember the label-not time to research as I'm warming up my brain for the day job. Cool and great on detail yet with a deep heart to it I think you'd find. His 10 1st movement and 5 were masterly imho. I was a schoolkid and taught by one of the band when they were making these discs and there was a very good feeling about it.
Do you mean 7 and 11, which were on an EMI Forte double album, now no longer in the catalogue but available via Amazon Marketplace, etc.? |
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« Last Edit: 11:23:04, 05-03-2008 by Bryn »
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Ron Dough
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« Reply #566 on: 22:37:18, 05-03-2008 » |
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The live KK/Dresden 15 arrived today, and having managed to slam one of my two outstanding projects out by late afternoon, I allowed myself a dip. It was actually recorded before the Melodiya version (in January rather than May '74) and it it represents a different view in some ways, particularly in the last movement, which runs well over a minute longer than the commercial take, and is all the more intense for that: as with other Kondrashin live recordings, there's a definite sense that things are being minted as they go, without there ever being the impression that I occasionally get from Gergiev that he's micro-managing (and changing) things from minute to minute without considering the overall structure, or the fact that his musicians are totally caught out by being asked to do something they've obviously never rehearsed.
As I've mentioned at tOP, the balance is far more natural than is found on most recordings of this particular symphony, the temptation to spotlight the percussion at the end being particularly firmly resisted - in some other recordings, particularly those by Rozhdestvensky and Kegel, it might as well be a percussion concerto, with the kitchen department right under the conductor's nose; by keeping them at a natural distance behind the rest of the orchestra, this East German Radio recording makes much more sense of the final bars. It looks as if it will be adding itself to my essential list....
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marbleflugel
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« Reply #567 on: 19:48:12, 06-03-2008 » |
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Paavo Berglunds 6 and 11 with the Bournemouth Symphony were reissued last year, sorry I can't remember the label-not time to research as I'm warming up my brain for the day job. Cool and great on detail yet with a deep heart to it I think you'd find. His 10 1st movement and 5 were masterly imho. I was a schoolkid and taught by one of the band when they were making these discs and there was a very good feeling about it.
Do you mean 7 and 11, which were on an EMI Forte double album, now no longer in the catalogue but available via Amazon Marketplace, etc.? I do Bryn, Thanks. These having been among othe losses sustained in the siege of Balham some years ago I will try to re-aquire them. |
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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stuart macrae
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« Reply #568 on: 21:40:32, 06-03-2008 » |
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I heard the last movement of Shostakovich's 15th string quartet on "Iain Burnside" last Sunday, and wondered if anyone could tell me what the strange trill/tremolo effect created was, and how it was done? Sounded like a microtone trill to me but I couldn't be sure...
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mahlerei
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« Reply #569 on: 14:58:48, 07-03-2008 » |
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Have just put on the Rozhdestvensky 15 (thanks, Ron) and see there are several English and Americans songs on the same disc. These are all new to me so looking forward to it |
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