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stuart macrae
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« Reply #1380 on: 17:44:52, 18-09-2007 » |
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Ravel Shéhérazade with Janet Baker/New Philharmonia Orchestra/Barbirolli. Wonderful recording.  |
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ahinton
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« Reply #1381 on: 17:49:51, 18-09-2007 » |
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The Variations make so much more sense than in IS's own recording too (presumably made at a time when its idiom was even more unfamiliar to orchestral players than it subsequently became). The one with sul ponticello strings, though, still seems to open a door into a whole different "textural" soundworld for Stravinsky - maybe if he'd lived even longer he would have abandoned twelve-tone composition for Ligeti-like "micropolyphony"...
He might well have done that, or gone into some kind of complexicism, or indeed dallied with anything else that might have taken his fancy as long as he could always have guaranteed ending up making it sound unmistakably like Stravinsky; that's one of the things that I find most irritating and at the same time admirable about him (but then I'm about the last person to listen to on the subject of the composer who is supposed to have said "If Richard, then Wagner - if Strauss, then Johann" and to which my retort has long been "if Igor, then Prince")... Best, Alistair |
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eruanto
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« Reply #1382 on: 23:31:10, 18-09-2007 » |
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Schumann: Sechs Gedichte aus dem Liederbuch eines Malers
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harmonyharmony
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« Reply #1383 on: 11:16:05, 19-09-2007 » |
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Harry Partch: Dark Brother (Enclosure 2)
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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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TimR-J
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« Reply #1384 on: 14:20:43, 19-09-2007 » |
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hh - do you know Enclosure VII, the DVD with Delusion of the Fury, the Dreamer that Remains, etc on it? That's a must for Partch fans.
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harmonyharmony
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« Reply #1385 on: 14:25:55, 19-09-2007 » |
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I don't know it. There are serious Partch purchases coming up as soon as I have some money, but for the time being...
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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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TimR-J
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« Reply #1386 on: 15:02:53, 19-09-2007 » |
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Worth watching if you get a chance, from a documentary point of view if nothing else.
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harmonyharmony
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« Reply #1387 on: 15:04:36, 19-09-2007 » |
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I've seen the Dreamer that Remains on the VHS Enclosure (1?) but that was a while ago.
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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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Bryn
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« Reply #1388 on: 23:10:43, 19-09-2007 » |
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After the BBC Radio session recording of "Neon Shuffle" the other night, I got it bad tonight: the CD version of "White Music".  |
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SusanDoris
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« Reply #1389 on: 14:38:40, 20-09-2007 » |
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Although I do not follow this thread, I thought this would be the right place to say:
Over the last few months I have been listening to the Shostakovich Symphonies (from the boxed set, conductor Mariss Jansons). I have not looked at which ones they are until after I have heard them a few times. I still have two more CDs to go, but at the moment it turns out that the one I am listening to is No. 2 and I'm just loving it. The whole thing (i.e. all that I've listened to so far) has been an excellent musical experience ... and when I think that Shostakovich's music has been around all my life and I haven't taken any notice of it, well .....!
Also I bought a new CD a while back, forgot what it was, thought it was Germaine Tailleferre, put it on and listened to it a few times, but it turned out to be piano music by Stockhausen, which I think was recommended to me on this forum a while back. I found it very, well, interesting! but liked it better the more I listened. It is called 'Montra' and appears to be an 'Accord' CD with the number: LC00280.
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« Last Edit: 14:50:52, 20-09-2007 by SusanDoris »
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Bryn
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« Reply #1390 on: 20:13:01, 20-09-2007 » |
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Arthur Lourié, Concerto da Camera for Violin & String Orchestra (Gidon Kremer, German Chamber Philharmonic Society, 'live').
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autoharp
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« Reply #1391 on: 20:19:36, 20-09-2007 » |
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That's interesting, Bryn. Can we have a description of the piece ?
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richard barrett
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« Reply #1392 on: 21:23:44, 20-09-2007 » |
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Mahler 7 (Gielen) - started with this one because it's one of my favourites but can easily fall apart under uninspired direction. (Have I bought the Gielen box, you ask? not on your Nelken! I have merely borrowed it from a kind Member, although it may be that I shall eventually have to have my own.
I note that he does the same measured-tremolo thing with the strings at the opening as Barenboim in his recent version. Is that a new fashion? Apart from that, though, which I'm not really sure about (it sounds in a way wrong, perhaps this is just unfamiliarity but I hear it as connecting less well with the woodwind trills around it), I love the way he does almost everything. The tenor horn in the first movement has exactly the sound I imagine it to have, all the string portamenti are completely convincing, there's attention to every detail and also how it all fits together. It's the kind of performance which encourages listening with "fresh ears", not because it's exaggerated or mannered in any way but just in being a committed and intelligent view of the work.
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Ron Dough
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« Reply #1393 on: 21:43:28, 20-09-2007 » |
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Although I do not follow this thread, I thought this would be the right place to say:
Over the last few months I have been listening to the Shostakovich Symphonies (from the boxed set, conductor Mariss Jansons). I have not looked at which ones they are until after I have heard them a few times. I still have two more CDs to go, but at the moment it turns out that the one I am listening to is No. 2 and I'm just loving it. The whole thing (i.e. all that I've listened to so far) has been an excellent musical experience ... and when I think that Shostakovich's music has been around all my life and I haven't taken any notice of it, well .....!
The second and third are the cinderellas of the Shostakovich cycle, Susan, habitually written off as experimental blind alleys. But when we started a trek through the Shostakovich symphonies on the old board, and subsequently here, I found that the second began to exercise an increasing hold on me, to the point where I eventually had not only to send away for the score, but find that it is now the second-best represented of the cycle in my collection (nine different versions: only the fourth exceeds it). It is a strange little piece, but fascinating. I'm delighted its magic is working on you, too. Ron |
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Bryn
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« Reply #1394 on: 21:48:17, 20-09-2007 » |
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That's interesting, Bryn. Can we have a description of the piece ?
Sorry, autoharp, I got distracted fair early on, dealing with a blockage in the out-pipe from the bath. I will have to spin it again. It's in 6 movements, what I took in sounded very attractive. Unfortunately it is coupled with the dire "Come In!", by Vladimir Martinov, the most attractive aspect of which sacharine confection is what sounds for all the world like a steal from a Morricone score, (you know, the one with the musical pocket watch). The disc only cost around 62p, including p&p from France. Trouble is, you have to get the other 99 CDs in the set, too, at the same rate. I've got the Lourié spinning again now, there are hints of Prokofiev there (or is it the other way round?). My ears aren't as well tuned as yours to microtones, so I am not sure how accurate Kremer's playing is. A quick google reveals that there is a study score available, here. |
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« Last Edit: 21:51:17, 20-09-2007 by Bryn »
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