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Turfan Fragment
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« Reply #2400 on: 08:48:45, 17-03-2008 » |
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Erroll Garner, Woody Herman
Music for Tired Lovers
I say, EG's piano voicings are a thing quite of their own, are they not? Who plays the piano like that?!
(That's not a rhetorical question! Who else plays the piano like that?)
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« Last Edit: 08:51:30, 17-03-2008 by Turfan Fragment »
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John W
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« Reply #2401 on: 11:30:43, 17-03-2008 » |
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Beethoven - Creatures of Prometheus - complete ballet music
(Turnabout TV34371S LP, Berlin Symphony Orch, cond. Hans-Hubert Shonzler, 1970)
I've heard the overture before, not taken much notice of it, but toda, as I rummaged/catalogued through that ebay box of vinyl, this came up, it was like discovering unknown Beethoven. A lovely set of 'Beethovania': the overture, intro and 16 short pieces. Some fine playing gems for flute, harp, bassoon, violin, clarinet hidden in there, some delightful pieces in 3/4, all with the unmistakable stamp of Beethoven.
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richard barrett
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« Reply #2402 on: 14:04:04, 17-03-2008 » |
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... and for historical-performance people there's a very nice CD by the Orchestra of the 18th Century and Frans Brüggen.
NS here: Schütz, Symphoniae sacrae II.
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oliver sudden
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« Reply #2403 on: 14:28:11, 17-03-2008 » |
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Is it the recording with Vater Abraham, erbarme dich mein as a filler de luxe? I do hope so.
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...trj...
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« Reply #2404 on: 15:34:28, 17-03-2008 » |
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It is a strange thing but in all the clusters of tones and clatterings of bows and wooden casings one hears in this music, I find an incredible clarity. Both of sound and of feeling. One of the things that excites me about some 'dissonant' music, is that the contrasts and nuances of texture etc. seem so well defined, in a way that makes it seem almost similar to baroque/medieval music at times. Why a 'pile' of microtonal sounds can seem to have a much clearer texture, or effect, than say a big 'romantic' chord, I'm not sure - perhaps in one way I am hearing the cluster as a single tone really. For example if I heard a crowd of ants scurrying over a metal-casing in steel-capped stilettos (a common problem round our way  ) or a hundred birds all chirping a different note simultaneously, that would probably come across to me as very vivid and uncluttered sound in one way, despite the tangle of noises, and one of the thrills for me of being in the kind of sound world that Threnody and also De Natura Sonoris (not on this disc) provide is that such things can almost be heard. These new territories of sound and their possibilities of expressivity are one of the wonders of new music to me and, in the case of Threnody, incredibly and memorably desolate too. I rather like this description of Penderecki. If you don't know it already, you might like to find a copy of KP's First String Quartet - lots of ants in steel-capped stilettos and other sonic tangles in that one! (Thanks for mentioning the Brahms/Penderecki thread at TOP - I hadn't seen that before. For those who are confused about the origins of the thread subject, I suspect it comes off the back of the BBC SO's recent performance of Brahms 4 and Penderecki 8 - a reasonably successful marriage of two real oddballs.) Oh, and now spinning - Matthew Burtner, Metasaxophone Colossus. A lot of this is a bit too noisy for everyday listening, but Burtner's a really interesting composer I think. Portals of Distortion (another collection of noisy, droney sax-based things) is also recommended. |
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« Last Edit: 16:32:45, 17-03-2008 by ...trj... »
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pim_derks
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« Reply #2405 on: 15:46:52, 17-03-2008 » |
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Penderecki's First String Quartet - lots of ants in steel-capped stilettos and other sonic tangles in that one! I like that one! I have the old recording by the LaSalle Quartet on Deutsche Grammophon (CD). On that disc you'll also find good performances of quartets by Lutoslawski, Cage and Mayuzumi. The Mayuzumi quartet is very intriguing and it's the only piece by this composer that I have on disc. Is he still alive and did he compose more interesting works? |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Il Grande Inquisitor
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« Reply #2406 on: 17:26:38, 17-03-2008 » |
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I've just finished watching this  and it's more impressive than I had thought, both musically and in terms of the production. (The vocal performances are also as good as one could wish for, and the sound quality isn't bad although it gets a bit clogged once the chorus enters.) I'd only looked at the first act before and wasn't too keen on how the production ignored the intended (16th century) period setting and the fact that the principal character was supposed to be a hunchback, but as it goes on all of this seems to make perfect sense. The music too lives up to the promise of its Prelude, tending occasionally towards gestures which those of Schreker's colleagues who managed to emigrate to the US made part of the vocabulary of Hollywood soundtrack music, but the orchestration and harmony are consistently more complex than that, and the ending, where a wistful D major recalling the Prelude is obliterated by a brutal D minor, is chilling in a way I hadn't quite heard before. Recommended to all. Thanks for that review, Richard. I've just looked on my rental website and discovered that it's being dispatched today as my next DVD; this has really whetted my appetite. I've listened to the Sinaisky disc a couple of times (it having arrived from Caiman in double quick time) and it's sumptiously scored music. |
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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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pim_derks
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« Reply #2407 on: 20:27:39, 17-03-2008 » |
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Now spinning:  and many other favourites.  |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Il Grande Inquisitor
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« Reply #2408 on: 21:35:33, 17-03-2008 » |
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Gosh, this is good.  |
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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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harmonyharmony
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« Reply #2409 on: 23:42:03, 17-03-2008 » |
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'A fractured skull! a bleeding face! a severed - limb! an oo - oo - oo - oozing eye! a twisted neck! a gangrene foot! a burn - ing sore!
These treats with which you tricked us
We'll now treat as tricks on you!'
At least that's what I'd like to be spinning (having eavesdropped on the Birtwistle chat elsewhere) but I must prepare and listen to the equally fabulous music from Mali.
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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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time_is_now
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« Reply #2410 on: 00:49:19, 18-03-2008 » |
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I must prepare and listen to the equally fabulous music from Mali.
... which also has a libretto by Stephen Pruslin?  |
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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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brassbandmaestro
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« Reply #2411 on: 07:59:02, 18-03-2008 » |
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I heard Beethoven's overture Nameday(!?!??). On Breakfast r3 yesterday. I dont think Ive heard this before but it struck me as not top notch Beethoven.
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marbleflugel
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« Reply #2412 on: 09:21:09, 18-03-2008 » |
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Erroll Garner, Woody Herman
Music for Tired Lovers
I say, EG's piano voicings are a thing quite of their own, are they not? Who plays the piano like that?!
(That's not a rhetorical question! Who else plays the piano like that?)
Wondering if you caught the repeat of Oscar Peterson and Andre Previn jamming on BBC4 recently-magical and insightful as to what it was like to grow up around the likes of Tatum and Garner. Garner at his best strikes me as lyrical and tongue-in-cheek at the same time, sort of in opposite ratio to Fats Waller? |
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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Turfan Fragment
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« Reply #2413 on: 20:47:41, 19-03-2008 » |
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Wondering if you caught the repeat of Oscar Peterson and Andre Previn jamming on BBC4 recently-magical and insightful as to what it was like to grow up around the likes of Tatum and Garner. Garner at his best strikes me as lyrical and tongue-in-cheek at the same time, sort of in opposite ratio to Fats Waller? No, I didn't catch it. The more I hear Garner on "Music for Tired Lovers", the more I start to "place" it stylistically. But I still can't get over the impression he's playing Peter Ablinger's Voices and Piano in certain places. |
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harmonyharmony
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« Reply #2414 on: 10:19:12, 20-03-2008 » |
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Robert Crawford, Music for Piano and Strings
Edinburgh Quartet with Nicholas Ashton
Sonata Breve (1991), Quintet (2005), Sonata no. 2 op. 5 (1951), Six Bagatelles op. 3 (1947), and A Saltire Sonata (1991).
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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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