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pim_derks
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« Reply #1965 on: 16:53:35, 04-01-2008 » |
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I'm listening to the Piano Concerto Op. 26 by Max Trapp, played by Walter Gieseking and accompanied by the Concertgebouw Orchestra directed by Willem Mengelberg. The recording was made in October 1935 and is in fact the oldest existing live recording of Mengelberg.
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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C Dish
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« Reply #1966 on: 17:08:21, 04-01-2008 » |
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The recording was made in October 1935 and is in fact the oldest existing live recording of Mengelberg.
The irony is, you can't even hear him. Now Spinning chez Dish: John Cage's Two4"If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all." I do not subscribe to this, though I did when I was younger. Update: Moved on to Seven -- not quite so 'absurdly ethereal'.. made a bit more earthy by piano and a broader palate of noises. |
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« Last Edit: 17:37:32, 04-01-2008 by C Dish »
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inert fig here
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Bryn
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« Reply #1967 on: 19:39:44, 04-01-2008 » |
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Philip Glass: Brass Sextet. He don't write stuff like that any more.  A little earlier, Sciarrino's "La Bocca, I Piedi, Il Suono" was spinning. I went for the 24/196 DVDA 2 track version this time. Must get the surround set-up working properly.  |
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pim_derks
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« Reply #1968 on: 21:19:00, 04-01-2008 » |
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Philip Glass: Brass Sextet. He don't write stuff like that any more. That's a fine disc, Bryn!  |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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oliver sudden
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« Reply #1969 on: 12:13:20, 05-01-2008 » |
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Spinning up until quite recently: the January Diapason cover disc. Until I heard the second track, Varen, a choral piece by Grieg, sung by Det Norske Solistkor. (BIS SA1661.) http://www.sendspace.com/file/8yaqsaGoodness gracious me. Never heard anything quite like it. Is that really a voice up there just after the 3-minute mark? Please, someone tell me it's an early and previously undocumented use of the Ondes Martenot. If not then that lady has an enviable contempt for leger lines... |
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autoharp
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« Reply #1970 on: 15:18:17, 05-01-2008 » |
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Top note's (only?) F. (same as Schoenberg Hergewachse). But the change from D to Eb at 3'40" sounds distinctly unvocal!
I remember once hearing an ancient recording of Donizetti (on Radio Tirana before you ask) which went up to A - if I identified it correctly. But that did sound like a voice . . .
Which composers have demanded notes higher than F?
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« Last Edit: 15:20:29, 05-01-2008 by autoharp »
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Antheil
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« Reply #1971 on: 15:33:37, 05-01-2008 » |
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I'm listening to the Piano Concerto Op. 26 by Max Trapp, played by Walter Gieseking and accompanied by the Concertgebouw Orchestra directed by Willem Mengelberg. The recording was made in October 1935 and is in fact the oldest existing live recording of Mengelberg.
I have a 1940 recording of Concertgebouw with Mengelberg. Thanks for reminding me, will have to get those old Concertgebouw recordings out again, they haven't had an airing for a very long time. |
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Reality, sa molesworth 2, is so sordid it makes me shudder
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richard barrett
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« Reply #1972 on: 15:34:34, 05-01-2008 » |
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One soprano part in (the original version of?) Michael Finnissy's chamber opera The Undivine Comedy went as far as Bb or even B, I seem to remember. The first piece of mine that was ever performed went up to F#, which Penelope Walmsley-Clark didn't complain about, so I did think it was fairly unexceptional for a while.
NS: Scarlatti played by Aline Zylberajch on a Cristofori-copy fortepiano, which is even better than Linda Nicholson's recital on the same instrument I've enthused about before (more imaginative choice of pieces, subtler playing). If I were the sort to stick my oar into musical areas I have little or no insider knowledge of, I'd say that this music (or at least quite a lot of it) was clearly written with such an instrument in mind.
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oliver sudden
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« Reply #1973 on: 15:35:16, 05-01-2008 » |
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Which composers have demanded notes higher than F?
Mozart has a couple of high Gs in Popoli di Tessaglia. Richard Strauss asked for a couple of F#s in the original version of Ariadne. But Michael Finnissy as you perhaps know asked for a high Eb, no not that one, yes that one, in The Parliament of Heaven... |
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richard barrett
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« Reply #1974 on: 15:36:37, 05-01-2008 » |
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Gosh! yes, I remember now, I did once look through that score, at least twenty years ago though.
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oliver sudden
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« Reply #1975 on: 15:45:33, 05-01-2008 » |
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 Handily quoted in Uncommon Ground: The Music of Michael Finnissy (Brougham, Fox and Pace, Ashgate Publishing 1997). Sorry it's a bit fuzzy... very much my fault not theirs. |
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Ian Pace
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« Reply #1976 on: 15:50:32, 05-01-2008 » |
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To date, that work has not yet been performed (nor have most of the rest of the Mysteries cycle, from which it comes - maybe EXAUDI might have some plans?  ). I believe those supersonic high notes might have been written with someone called Pippi something in mind, who had a almost mutant-like ability to reach crazily high pitches - anyone know anymore about her? |
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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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richard barrett
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« Reply #1977 on: 16:04:56, 05-01-2008 » |
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very much my fault not theirs.
I really should have a copy of that book (mostly my fault, partly Ashgate's for the "academic" price). |
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oliver sudden
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« Reply #1978 on: 16:36:45, 05-01-2008 » |
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I believe those supersonic high notes might have been written with someone called Pippi something in mind, who had a almost mutant-like ability to reach crazily high pitches - anyone know anymore about her?
Not Poppy Holden by any chance? (Sometime of the Consort of Musicke?) |
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Ian Pace
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« Reply #1979 on: 21:24:16, 05-01-2008 » |
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I believe those supersonic high notes might have been written with someone called Pippi something in mind, who had a almost mutant-like ability to reach crazily high pitches - anyone know anymore about her?
Not Poppy Holden by any chance? (Sometime of the Consort of Musicke?) Yes, I think so (but need to check that with MF) - any more info you can give on her? |
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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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