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oliver sudden
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« Reply #1905 on: 18:39:18, 13-12-2007 » |
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I'm not completely sure but I suspect Richard may have been taking the peas.
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Il Grande Inquisitor
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« Reply #1906 on: 23:03:55, 16-12-2007 » |
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Super new(ish) disc of Liszt:  Sparkling playing and very impressive orchestral support. |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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martle
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« Reply #1907 on: 23:10:04, 16-12-2007 » |
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Spinning a bit earlier: Ligeti, Chamber Concerto, in preparation for posting some thoughts on his music on another thread tomorrow, or whenever. I think this is my favourite work of his, or at least the one that for me best summarises him. And I think the reason for this is that it represents the best balance he ever achieved between his greatest strengths: process, distinct vs. indistinct thematic ideas, textural transformation, the play between movement and stasis, grotesquery and wit.
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Green. Always green.
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Stanley Stewart
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« Reply #1908 on: 16:10:56, 18-12-2007 » |
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A bottle of sparkling aural fizz - too early in the day for the real thing - seems to accompany Simon Rattle and the BPO as they graciously play their way through Haydn, Symphonies 88-92 on EMI Classics; the false ending to Sym 90 can still surprise and raise a smile.
I followed this 'fix' with a whiff of ozone - ozoniferous? - in Korngold's lush composition for "The Sea Hawk" (1940). I've always enjoyed the RCA Victor recording on LP, in the 70s, a 16 minute suite, with Charles Gerhardt and Nat. Phil Orchestra. This new recording on Chandos Movies, Vol 2 of Korngold's Film Music, provides the full score in a 77 min performance and exceptional resounding sonics. BBC Philharmonic, conducted by Rumon Gamba. Heady stuff.
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C Dish
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« Reply #1909 on: 16:40:27, 18-12-2007 » |
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La petite Bande, Kuijken, with Haydn 88 (inspired by the previous poster  ) I can't help seeing a link between this remarkable piece and Beethoven's 6th, especially in the middle movements of the Haydn. |
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inert fig here
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offbeat
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« Reply #1910 on: 17:37:09, 18-12-2007 » |
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Arvo Part Como cierva sedienta for womens choir and orchestra - lyrical, tender and dreamy - just the thing to warm the spirits on a cold day  |
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oliver sudden
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« Reply #1911 on: 19:33:26, 18-12-2007 » |
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Oh my goodness!
I'm listening to a concert on Radio 3!
This never happens!
(Smetana could be pretty crass when he put his mind to it, no?)
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thompson1780
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« Reply #1912 on: 20:27:17, 18-12-2007 » |
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Ollie - I have a soft spot for The Bartered Bride, but "yes", crass was part of the Smetana repertoire.
Did you hear the Foerster? Worth listen again?
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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thompson1780
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« Reply #1913 on: 20:31:54, 18-12-2007 » |
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By the way, I liked the portamenti in the 3rd movement of the Dvorak. It's a long time since I played that - can anyone remind me if they are urtext or not?
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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oliver sudden
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« Reply #1914 on: 20:38:22, 18-12-2007 » |
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I did hear the Foerster but a little dimly through the preparation of some lamb shanks cooking now for dinner. Worth hearing I think but his chances of displacing Martinů from the top of my list of favourite Czeck violin concertos are to be fair slim.
I suspect the portamenti aren't explicitly demanded but both a likely part of performance practice and fun. The horn trills are something else though, no?
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richard barrett
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« Reply #1915 on: 21:13:26, 18-12-2007 » |
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his chances of displacing Martinů from the top of my list of favourite Czeck violin concertos are to be fair slim.
... although there is is there not also an incomplete concerto by Janaczeck which we think would occupy that position in our own ungainsayable Violin Concertos Variously Rated system, notwithstanding Martynoo's fine concertante works for said instrument (including even one for two violins, a somewhat rare genre). |
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C Dish
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« Reply #1916 on: 21:15:23, 18-12-2007 » |
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Rolf Riehm, Die Tränen des Gletschers
SWR Orchestra under Hans Zender, Donaueschingen 1998
Exactly what meets the ear. In this sense stunning.
In the form overview we read the following blurrb: Die Schlaginstrumente bilden zusammen ein Organ, das Lautgebärden hervor bringt
The percussion instruments together comprise an organ (in the anatomical sense) that produces sound gestures.
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« Last Edit: 21:19:45, 18-12-2007 by C Dish »
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inert fig here
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ahinton
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« Reply #1917 on: 21:29:45, 18-12-2007 » |
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"yes", crass was part of the Smetana repertoire.
So were his Piano Trio and two quartets. Interesting contrast, that... Best, Alistair |
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oliver sudden
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« Reply #1918 on: 23:21:02, 18-12-2007 » |
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his chances of displacing Martinů from the top of my list of favourite Czeck violin concertos are to be fair slim.
I don't believe I took the trouble to type Martinů and then didn't bother to Czeck my spelling of... er never mind. |
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thompson1780
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« Reply #1919 on: 23:28:25, 18-12-2007 » |
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his chances of displacing Martinů from the top of my list of favourite Czeck violin concertos are to be fair slim.
I don't believe I took the trouble to type Martinů and then didn't bother to Czeck my spelling of... er never mind.Hee Hee! Anyway. Now spinning chez Tommo.... Martinů VC No.1 Suk/CPO/Neumann It was preceded by Tucapsky's Viola Concerto. Gosh - you can certainly tell the reason why Martinů is better known than his comptriot. 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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