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martle
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« Reply #15 on: 22:23:47, 04-07-2007 » |
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Then again, I'm weak for trumpets.
 You neomaxdweebiedorkheadgeekypoo person. S-S - well, I have to admit to an admiration for the skill, concision and wit of the finale of Carnival of the Animals, but otherwise... NO, just no. The Organ symphony never sounded so good as when sung by the mice in Babe, though. |
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Green. Always green.
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roslynmuse
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« Reply #16 on: 22:31:10, 04-07-2007 » |
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I rather like Le rouet d'Omphale, and the Bacchanale from Samson and Dahlila has a certain ... je ne sais quoi...
What did Berlioz say about him - "All he lacks is inexperience"!
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martle
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« Reply #17 on: 22:37:33, 04-07-2007 » |
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I rather like Le rouet d'Omphale, and the Bacchanale from Samson and Dahlila has a certain ... je ne sais quoi...
What did Berlioz say about him - "All he lacks is inexperience"!
rm I had a bit of a crush on the 2nd concerto (Rubinstein recording) when I was about 15. I listened to it the other day, amidst a sort-out of old LPs.  Agree about S&D in places, but I can't think of anything there I wouldn't also say about 'Je ne regret rien'.  |
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« Last Edit: 22:51:56, 04-07-2007 by martle »
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Green. Always green.
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time_is_now
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« Reply #18 on: 22:43:57, 04-07-2007 » |
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rm, 'He knows everything; all he lacks is inexperience,' according to my wonderful research assistant Mr G. O. Ogle. Never heard it before myself, but that's wonderful! (And will no doubt get pinched by me as soon as I can find a context.  ) |
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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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roslynmuse
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« Reply #19 on: 22:47:05, 04-07-2007 » |
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t_i_n - good old Hector! mart -  (did you get as far as the second mt? Malcolm Arnold learnt everything he knew from those deathless 5 mins) |
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time_is_now
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« Reply #20 on: 22:48:02, 04-07-2007 » |
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Malcolm Arnold learnt everything he knew from those deathless 5 mins Ouch! Be careful, rm, I'll be pinching that too if you're not careful ... |
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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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Chafing Dish
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« Reply #21 on: 00:11:41, 05-07-2007 » |
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You neomaxdweebiedorkheadgeekypoo person.
Well, martle, I deeply resemble that remark. What did I do to deserve it? |
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ahinton
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« Reply #22 on: 06:54:55, 05-07-2007 » |
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The "Africa" Fantasy of Saint-Saëns may be the piece that single-handedly forced the 'so bad it's good' conception into musical appreciation? As for the 'Egyptian' concerto, do you think Tom and Jerry could have kept up with the last movement?  Neatly put! But those are positively inspired compared to the Third Piano Concerto - listen to the main theme of the first movement to see just how low such stuff can sink....
S-S at his worst is indeed an embarrassing composer to contemplate - but there are far better things in his output, not least some of the chamber music. Perhaps one of the problems that beset him from time to time was that he allowed himself to become prey to the fact that so much came so easily to him; one could almost imagine him writing some of his pieces in his sleep, or while doing something else. Anyway - back to d'Indy... Best, Alistair |
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Sydney Grew
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« Reply #23 on: 07:39:31, 05-07-2007 » |
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S-S at his worst is indeed an embarrassing composer to contemplate - but there are far better things in his output, not least some of the chamber music. Perhaps one of the problems that beset him from time to time was that he allowed himself to become prey to the fact that so much came so easily to him; one could almost imagine him writing some of his pieces in his sleep, or while doing something else. Mozart at his worst (when writing operas,that is) is indeed an embarrassing composer to contemplate - but there are far better things in his output, not least some of the chamber music. Perhaps one of the problems that beset him from time to time was that he allowed himself to become prey to the fact that so much came so easily to him; one could almost imagine him writing some of his pieces in his sleep, or while doing something else. Actually they (Saint-Saens and Mozart) were both tremendously good first-raters! We do not think the reputation of either of them will in the slightest degree be damaged by any condescending judgements made in this forum. |
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George Garnett
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« Reply #24 on: 10:13:30, 05-07-2007 » |
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We do not think the reputation of either of them will in the slightest degree be damaged by any condescending judgements made in this forum.
Indeed so, Mr Grew. But nonetheless it is a tremendous relief to those of us who have felt confused and isolated when surrounded by enthusiastic applause at the end of the Organ Symphony, for example, to discover that we are not alone after all. Just knowing that some of the proper grown ups feel the same is a great emotional comfort. I'd like to thank the group for sharing. It gives some of us the courage to emerge from the closet even if not yet to venture out of the bedroom door. |
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« Last Edit: 23:14:31, 05-07-2007 by George Garnett »
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Jonathan
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« Reply #25 on: 13:04:31, 05-07-2007 » |
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(Sorry, I'm still talking about Saint-saens here)
Try the Septet and the Cello Sonatas - excellent stuff. The Priere for cello and organ is also lovely.
Sorry, I don't know anything about D'Indy's solo piano music!
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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pim_derks
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« Reply #26 on: 13:32:10, 05-07-2007 » |
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I've always liked the music of Vincent d'Indy. A piece by D'Indy that I really like is his Dyptique Méditerranéen. You can listen to it here: Dyptique Méditerranéen, Op. 28
I. Soleil Matinalhttp://www.sendspace.com/file/0culb5II. Soleil Vespéralhttp://www.sendspace.com/file/9r307rOrchestre Philharmonique de Monte-Carlo conducted by Georges Prêtre
Recorded in 1985I can upload more music by D'Indy if you like. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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ahinton
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« Reply #27 on: 16:00:24, 05-07-2007 » |
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S-S at his worst is indeed an embarrassing composer to contemplate - but there are far better things in his output, not least some of the chamber music. Perhaps one of the problems that beset him from time to time was that he allowed himself to become prey to the fact that so much came so easily to him; one could almost imagine him writing some of his pieces in his sleep, or while doing something else. Mozart at his worst (when writing operas,that is) is indeed an embarrassing composer to contemplate - but there are far better things in his output, not least some of the chamber music. Perhaps one of the problems that beset him from time to time was that he allowed himself to become prey to the fact that so much came so easily to him; one could almost imagine him writing some of his pieces in his sleep, or while doing something else. Actually they (Saint-Saens and Mozart) were both tremendously good first-raters! We do not think the reputation of either of them will in the slightest degree be damaged by any condescending judgements made in this forum. Thank you, Sir Sydney, but the purpose of my post was not at all to be condescending towards anyone or anything - merely to point out that the difference between S-S at his worst and S-S at his best is very considerable. Those composers whose sheer facility is way beyond the norm (Richard Strauss could be cited as a third example here) are almost certain to find themsleves in a situation from time to time where the facility takes over from the substance; one has to recognise and try to understand this and doing so does not have to involve being "condescending"... Best, Alistair |
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roslynmuse
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« Reply #28 on: 23:09:59, 05-07-2007 » |
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I have to say that for me Saint-Saens is a towering genius in comparison with Milhaud, whose enormous output is almost without exception one which provokes in me the martle response (see his wonderful piccy above), and a composer who I find almost totally embarrassing to contemplate. I like La creation du monde and L'homme et son desir and enjoy playing Scaramouche but almost every other piece I once had time for (Saudades; the cello concertos; the little chamber symphonies...) seems yet another product of the worst sort of mechanical composition-by-numbers.
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pim_derks
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« Reply #29 on: 00:59:09, 06-07-2007 » |
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I have to say that for me Saint-Saens is a towering genius in comparison with Milhaud, whose enormous output is almost without exception one which provokes in me the martle response (see his wonderful piccy above), and a composer who I find almost totally embarrassing to contemplate. I like La creation du monde and L'homme et son desir and enjoy playing Scaramouche but almost every other piece I once had time for (Saudades; the cello concertos; the little chamber symphonies...) seems yet another product of the worst sort of mechanical composition-by-numbers.
I see what you mean, roslynmuse. Milhaud simply wrote too many pieces. Still I think he wrote some very good music. I agree on the pieces that were already mentioned by you, but I would like to add Le Carnaval d'Aix, Protée, Suite Provencale, Les Choéphores and Le Train Blue. I also like Milhaud's Harp Concerto, but perhaps that has to do with the fact that there are so little harp concertos from that period. I also know a few lovely pieces by him for clarinet and piano and I remember some beautiful pieces for soprano and string quartet. When you take a closer look at the enormous output of Saint-Saëns, you'll always discover something interesting. Today I was listening to his Piano Quintet, Op. 14: what a beautiful piece, especially in the final movement. In Milhaud's oeuvre, it's far more difficult to find such gems. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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