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Morticia
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« on: 14:16:38, 23-07-2007 » |
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I really feel that I have to get over my negative feelings towards this work. I found it dark, bleak, almost harrowing, but I think I should give Hector another whirl. Can anyone recommend a recording?
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oliver sudden
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« Reply #1 on: 14:22:47, 23-07-2007 » |
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Never mind that, what recording do you have? You're selling it well.  |
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Morticia
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« Reply #2 on: 14:29:18, 23-07-2007 » |
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Ollie, I don`t have a copy, just a long memory!  |
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Kittybriton
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« Reply #3 on: 14:30:03, 23-07-2007 » |
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Yup, dark, bleak and harrowing sums it up pretty well.
Now if you want a lullaby of a requiem, try Fauré.
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Click me -> About meor me -> my handmade storeNo, I'm not a complete idiot. I'm only a halfwit. In fact I'm actually a catfish. |
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Morticia
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« Reply #4 on: 14:37:34, 23-07-2007 » |
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Yup, dark, bleak and harrowing sums it up pretty well.
Now if you want a lullaby of a requiem, try Fauré.
Yup, I`ve got that particular T shirt, And the CD |
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Chafing Dish
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« Reply #5 on: 15:47:02, 23-07-2007 » |
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Just go with Sir Colin Davis. It's a safe bet. Doesn't sound like you intend to be 'converted' anyway.  |
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oliver sudden
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« Reply #6 on: 16:23:16, 23-07-2007 » |
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Surely JEG is going to do / has done a surround version?
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« Last Edit: 22:00:56, 23-07-2007 by oliver sudden »
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Stanley Stewart
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« Reply #7 on: 17:58:28, 23-07-2007 » |
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Listen to the complete recording on Wednesday's Classical Collection at 10.34am.
Boston Symphony Orchestra; conductor Charles Munch
Leopold Simoneau (tenor) - New England Conservatory Chorus
Recorded 1959
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offbeat
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« Reply #8 on: 20:16:19, 23-07-2007 » |
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The best way to appreciate this work imo is to hear it live -heard it once in St Pauls Cathedral and think effect much more than any recording
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Morticia
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« Reply #9 on: 20:31:56, 23-07-2007 » |
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Stanley, thanks very much for that. Perfect timing. Oh dear, I seem to have conveyed an overly negative impression of the Requiem. That wasn`t my intention at all. When I first heard it I guess I was emotionally swamped by the power of the work and it resonated long after. It was at a rather difficult stage in my life, so I guess that exacerbated the effect. I`m quite willing to be `converted CD, hence the enquiry .... |
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thompson1780
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« Reply #10 on: 21:38:22, 23-07-2007 » |
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I, on the other hand, am not willing to be converted (yet).
A peformance in a cold Ely Cathedral in the late 1980s, wet, with no food and little rehearsal, has left me scarred. Not going to risk opening that wound yet.
All I remember of it was that it has offstage trumpets at some stage, which weren't there.
And then there were the drums
Oh dear
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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Stanley Stewart
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« Reply #11 on: 21:54:50, 23-07-2007 » |
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My pleasure, Mort. I've just been browsing The Penguin Guide to Cds:
Munch's Boston version recorded as early as 1959, yet in some ways it has still not been surpassed, although technically of course the new Telarc version is even more breathtaking. (Atlanta Orch & Chorus;Robert Spano; Frank Lopardo, soloist - recorded on 1CD). But it was an astonishing technical achievement for its time, and its full glories have not been achieved on record until now. The SACD transfer involves three channels (not four), but it sounds very spectacular indeed on two. The four bass groups make a superbly bold effect within the resonant Boston acoustics and the big climaxes of the Dies irae and Tuba mirum are thrilling. Munch's overall direction has a fine lyrical flow: he brings powerful expressive feeling to the Lacrymosa, where the chorus is at its finest. The deep trombone effects come off splendidly in the Hostias and the Sanctus - where Leopold Simoneau, with headily beautiful tone, does full justice to the tenor solo - is particularly moving. All in all, this is a most distinguished set, and there is no doubt that the new transfer is in the demonstration bracket, not just for the expansive climaxes, but also for the gentler passages which have a radiant bloom."
Sold. Over to you Sarah Walker.
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oliver sudden
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« Reply #12 on: 21:56:24, 23-07-2007 » |
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...The Munch is very fine indeed; as is the Davis on Philips in general although they've done a funny job recording the choir - sometimes you can hear individual singers at points where you really shouldn't be able to.
But as offbeat points out, you can't fit that piece into a pair of speakers. Probably not into 5.1 speakers either although surely it's crying out for it (for those who don't know: there are 4 brass bands specified to be at the four main compass points and when they let rip the gates of hell fairly open up).
And yet at the same time there are these wonderfully hushed moments... including that bizarre writing for flutes high over trombone pedal notes in the Hostias where the whole late 20th century spectralist school seems to be knocking at the door. And the Offertorium where for nearly the whole way through the choir is just sitting on A and B flat in the middle of the range.
Needs a really top new recording, at best on period instruments. John Eliot Gardiner, are you out there?
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« Last Edit: 22:00:43, 23-07-2007 by oliver sudden »
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Stanley Stewart
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« Reply #13 on: 22:17:06, 23-07-2007 » |
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YES, Ollie. "If music be the food of love, play on, Give me excess of it;....."  |
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George Garnett
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« Reply #14 on: 23:49:19, 23-07-2007 » |
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there are 4 brass bands specified to be at the four main compass points and when they let rip the gates of hell fairly open up As they were, and damn nearly did, (respectively) in St Paul's just a fortnight ago. There must have been some other R3OK MBers there. No? |
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