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oliver sudden
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« Reply #1575 on: 00:59:28, 03-10-2007 » |
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Blanc sur rouge, rien ne bouge Rouge sur blanc, tout fout le camp  Here: Hymn to St Cecilia again. JEG & co this time. Lacks a bit of body in the sound for me. I might go back to RIAS even though all the äts and änds are a bit of a pity... |
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Chafing Dish
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« Reply #1576 on: 01:02:04, 03-10-2007 » |
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Some days only Mr Braxton's cerebral yet visceral sonic convolutions will do.
Hear hear! The kennytone download from 2006 was also fantastic. Anybody want to meet over at the Braxton thread again? It could use a revival. Sometime this week perhaps. |
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aaron cassidy
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« Reply #1577 on: 01:03:54, 03-10-2007 » |
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Now spinning? My head. Too many G&Ts followed by Orval and a Macon-Villages
Well there's your problem, right there. |
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oliver sudden
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« Reply #1578 on: 01:05:40, 03-10-2007 » |
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I might go back to RIAS  Aaaaaaaaaaah thät's better. |
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richard barrett
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« Reply #1579 on: 01:33:38, 03-10-2007 » |
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Some days only Mr Braxton's cerebral yet visceral sonic convolutions will do.
Hear hear! The kennytone download from 2006 was also fantastic. Anybody want to meet over at the Braxton thread again? It could use a revival. Sometime this week perhaps. Good idea. In the meantime there's a discussion going on here which might interest you. |
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Chafing Dish
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« Reply #1580 on: 01:49:34, 03-10-2007 » |
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Good idea. In the meantime there's a discussion going on here which might interest you. Thanks for pointing it out. I'll seek out October's Downbeat magazine. I know too little for what I listen to of Braxton, having read Peter Niklas Wilson, Graham Something, and the Guide to Research as well as skimming the Tri-Axium writings. I'd still like to catch him live someday. Must encourage the Krannert Center for the Arts to invite him here. |
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aaron cassidy
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« Reply #1581 on: 03:04:46, 03-10-2007 » |
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Tonight, we've had a whole slew of things spinning ...  OVPP, but really only a so-so performance. And quite poorly recorded, for my ears. (Really bizarre stereo imaging -- I'm fairly certain the soprano is actually sitting on the lap of the first violinist.) But a wicked piece. Before that was this gem:  I love this Four Last Songs recording. I listen to it while cooking at least 3-4 times a month, on average. And now we're on to the Jurg Frey string quartets disc on timescraper, which, as has been mentioned elsewhere on this thread, is an absolutely astonishing listen. |
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Chafing Dish
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« Reply #1582 on: 03:19:26, 03-10-2007 » |
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Just heard Mr Barrett's faux dèparts -- very lovely, and quite different from the lovely that I expected from seeing the score some time ago.
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aaron cassidy
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« Reply #1583 on: 03:47:16, 03-10-2007 » |
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Just heard Mr Barrett's faux dèparts -- very lovely, and quite different from the lovely that I expected from seeing the score some time ago.
I've never actually heard it w/ the correct F-quarter-sharp claxon horn. The one on the recording I have (don't remember if I got it from RB or Ian or whoever else) sounds like a rubber duckie bath toy. And it's sure as *(&$ not an F-quarter-sharp. |
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« Last Edit: 04:27:03, 03-10-2007 by aaron cassidy »
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aaron cassidy
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« Reply #1584 on: 04:02:57, 03-10-2007 » |
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Monteverdi Vespro delaa beate virgine(1610); with John Eliot Gardiner etc. As far as I am concerned one of the best editions of this masterpiece of Italian renaissance.
How does the Gardiner compare w/ the Parrott disc on virgin? I just discovered (after 11 months of dating her??) that the girlfriend owns this:  It absolutely beats the snot out of the Parrott. Outstanding disc. As good as anything else Junghaenel & his band ever do, which is to say, it's brilliant. |
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« Last Edit: 04:27:25, 03-10-2007 by aaron cassidy »
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Chafing Dish
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« Reply #1585 on: 04:18:53, 03-10-2007 » |
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I've never actually heard it w/ the correct F-quarter-sharp claxon horn. The one on the recording I have (don't remember if I got it from RB or Ian or whoever else) sounds like rubber duckie bath toy.
And it's sure as *(&$ not an F-quarter-sharp.
Well, yes, and that's such an important moment in the piece for me, so I just try to imagine the right sound, without which all that innovative string writing and the dynamic plasticity of it gets completely lost. I'm not sure why, when the horn misfired on its first entrance, they didn't just pack it in and go home.  <dripping sarcasm alert> |
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Ian Pace
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« Reply #1586 on: 08:12:07, 03-10-2007 » |
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I've never actually heard it w/ the correct F-quarter-sharp claxon horn. The one on the recording I have (don't remember if I got it from RB or Ian or whoever else) sounds like rubber duckie bath toy.
And it's sure as *(&$ not an F-quarter-sharp.
Well, yes, and that's such an important moment in the piece for me, so I just try to imagine the right sound, without which all that innovative string writing and the dynamic plasticity of it gets completely lost. I'm not sure why, when the horn misfired on its first entrance, they didn't just pack it in and go home. <dripping sarcasm alert> I should chip in here, having been the player of both piano part and horn on both occasions when the work was performed (each of which had a different horn). The original horn was the only one to be found (after much trawling of bike shops of South London and elsewhere) that could in any sense produce that pitch, but only when partially squeezed. But the sound wasn't too powerful, so the composer suggested I should press it the full way to get more volume. Alas, the rubber duck sound is what resulted. A similar situation appertained to the second performance. An appropriate horn for the piece has yet to be found..... [In the context of this piece, Derek and Clive style jokes can be taken as read, before others start making them, by the way] |
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« Last Edit: 08:18:16, 03-10-2007 by Ian Pace »
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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autoharp
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« Reply #1587 on: 09:56:15, 03-10-2007 » |
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It absolutely beats the snot out of
That's an expression I must learn to use. |
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Evan Johnson
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« Reply #1588 on: 10:20:25, 03-10-2007 » |
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I've never actually heard it w/ the correct F-quarter-sharp claxon horn. The one on the recording I have (don't remember if I got it from RB or Ian or whoever else) sounds like a rubber duckie bath toy.
Yeah, but you know you love the rubber ducky. I certainly do. Not spinning now, but last night:  ...having picked up a score to An die ferne Geliebte at the local used book emporium the other day. I don't think I ever fully realized what a beautiful, wonderful, outstanding piece that is; it seems to get lost in the shuffle. Also a beautiful, wonderful, oustanding performance, at least to my non-lieder-singer-trained-ears. |
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