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time_is_now
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« Reply #1830 on: 11:44:06, 04-12-2007 » |
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extract and compress its contents for mobile listening Well, if you will insist on treating high art as if it were some sort of micro-wave meal then what do you expect, really? You know, modern technology makes it possible to listen to Op 131 (I refer to Beethoven's, of course: whose else?!) while consuming break-fast. It is our moral obligation not to avail ourselves of such a possibility. |
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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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richard barrett
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« Reply #1831 on: 11:59:45, 04-12-2007 » |
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extract and compress its contents for mobile listening Well, if you will insist on treating high art as if it were some sort of micro-wave meal then what do you expect, really? You know, modern technology makes it possible to listen to Op 131 (I refer to Beethoven's, of course: whose else?!) while consuming break-fast. It is our moral obligation not to avail ourselves of such a possibility. We beg to differ with the Member in so far as the original aristocratic patrons of this music, to whose superior outlook on life we can can we not but aspire, were often wont to command a performance of some sophisticated music or other as a kind of aural perfume to sweeten their otherwise mundane daily duties, hence the term chamber music, and it is in this spirit that we often mitigate the tedium of our peregrinations with the pleasures of the pod. |
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time_is_now
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« Reply #1832 on: 12:49:32, 04-12-2007 » |
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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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oliver sudden
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« Reply #1833 on: 22:17:35, 04-12-2007 » |
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Now spinning here: Bolero. Conducted by Ravel in 1930. A perfectly conventional and unsurprising recording in every way. Especially the trombone solo. Hm. Same goes for the recording under Coppola from the same year. Goodness me. Sliding everywhere, written or not. And rhythm? What rhythm? Cripes, Monteux's La Valse is something. As is the whole box, I must say. Ravel fans, do yourselves a favour:  |
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« Last Edit: 23:34:29, 04-12-2007 by oliver sudden »
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Bryn
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« Reply #1834 on: 12:06:23, 05-12-2007 » |
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Just finished reeling and spinning, now spinning and spinning from HD to DVD-R, an old VHS recording from BBC2 of the RFH celebrations of Messiaen's 80th birthday. An introductory portrait documentary, followed by the final two tableaux of S.François ... . The tape shows its age a bit, and the audio is mono, but at least the semi-staged production of S.François ... is a bit closer to Messiaen's stage instructions than Sellars got up to.
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C Dish
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« Reply #1835 on: 12:11:07, 05-12-2007 » |
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why "..." ? was d'Assise too racy for you?
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inert fig here
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time_is_now
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« Reply #1836 on: 12:32:14, 05-12-2007 » |
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Well, at least two other Messiaen titles end in a '...' for no obviously good reason ...
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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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Bryn
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« Reply #1837 on: 14:41:11, 05-12-2007 » |
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Quite, t_i_n. Now moved on to Prokofiev's "Ode to the End ... ", (RNO, Jurowski), which arrived today. It seems I had built my hopes up too much. Not a patch on the performance directed by Elder at the RFH some years ago. Indeed, some of it sounds almost sight-read. I see Gergiev has had a go at it too. I have a feeling his would have a bit more 'umph' than Jurowski's. Let's hope Elder or Gergiev commits it to disc some time. I think the music recycled by Prokofiev from his "Cantata for the 20th Anniversary ... " works rather better in the Ode.
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« Last Edit: 14:56:22, 05-12-2007 by Bryn »
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autoharp
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« Reply #1838 on: 15:42:20, 05-12-2007 » |
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Now moved on to Prokofiev's "Ode to the End ... ".
I think the music recycled by Prokofiev from his "Cantata for the 20th Anniversary ... " works rather better in the Ode.
Can't agree with that, Bryn! The Ode was put together in a big hurry and sounds like it: Prokofiev merely nicked the big tune from the Cantata which is a pretty impressive work, is not it? |
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Bryn
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« Reply #1839 on: 16:20:08, 05-12-2007 » |
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Now moved on to Prokofiev's "Ode to the End ... ".
I think the music recycled by Prokofiev from his "Cantata for the 20th Anniversary ... " works rather better in the Ode.
Can't agree with that, Bryn! The Ode was put together in a big hurry and sounds like it: Prokofiev merely nicked the big tune from the Cantata which is a pretty impressive work, is not it? The Cantata is indeed pretty impressive, but in the right hands I think the Ode outshines it, though I do miss the accordions, and 'Lenin', of course. Now experiencing the DVD of Bach's "Desecration of the House" overture. I had not previously grasped how PDQ not only reflected the developments of his contemporaries, Paul Wranitzky and Joe Haydn, but looked forward to Cage's seminal work, 4'33". |
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oliver sudden
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« Reply #1840 on: 23:07:44, 05-12-2007 » |
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Pictures at an Exhibition. Ravel orchestration. Boston Symphony Orchestra conducted by one S. Koussevitzky.
Damn it's good. Anyone else know that Andante box?
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Ron Dough
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« Reply #1841 on: 18:51:23, 06-12-2007 » |
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Now that these rather eccentric elderly speakers (though with virtually brand-new cones) are up and in a trial position, I'm starting to put them through their paces. This means digging out a pile of favourite recordings which have only been heard on cans since the move, and experiencing them on a rather larger scale. So far we've had the Britten Grainger Disc, the last three Carl Vine symphonies and now a rather fabulous string quartet which has been something of a passion ever since heard it: Martin Butler's Songs and Visions from a Haunted Place: another of his pieces which has an internal logic I find unassailable (though yet again I find myself wondering whether that opening is an intentional homage to Berio's Folksongs). And what's following that? Aerosmith: Janie's Got a Gun. Predictable? Moi?
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harmonyharmony
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« Reply #1842 on: 01:15:02, 07-12-2007 » |
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Ooh. Folksongs.
It's been ages since I listened to that.
I think I overdosed quite a lot when I first discovered it and got so annoyed at the number of times that R3 was broadcasting it that I avoided it like the plague.
Oh. I'm supposed to be asleep.
Nuts.
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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 #1843 on: 02:03:38, 07-12-2007 » |
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Martin Butler's Songs and Visions from a Haunted Place Now I don't want to make a song and dance (or several of both) about this, Ron, but ... |
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« Last Edit: 02:06:39, 07-12-2007 by Bryn »
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Ron Dough
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« Reply #1844 on: 08:35:08, 07-12-2007 » |
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Martin Butler's Songs and Visions from a Haunted Place Now I don't want to make a song and dance (or several of both) about this, Ron, but ... ...you're turning it into a musical? |
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