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Evan Johnson
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« Reply #2655 on: 20:28:52, 10-04-2008 » |
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 I just posted this over at M&S, but it's so astonishing it belongs here too. Extraordinary music, beautiful performance on a wonderfully warm-sounding fortepiano (in the Lehman temperament, too, Ollie), and cheap! Everyone who is currently reading this needs to buy one right now. You won't regret it, I vow to you. |
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oliver sudden
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« Reply #2656 on: 23:12:33, 11-04-2008 » |
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Just finished spinning:  I think I need to lie down now. I know a few recordings of this. I don't know a better one. |
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Daniel
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« Reply #2657 on: 01:45:16, 12-04-2008 » |
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 For me, there is a place in the sound world, where a kind of placid but vivid fretting over details happens, to which only Debussy has the key, you just can't get there by any other route, it is unique, there is something thrilling about that. But through it all I personally end up with a feeling that it is a beautiful sadness I am listening to. In moments of anxiety, of which there are many in this quartet, it expresses that feeling by simply becoming more intensely languid (which somehow communicates fraughtness to me  ) or more painfully exquisite. For some reason, the 3rd movement seems to begin (and end) with a greater openness/directness which seems then to become enfolded again in the beautiful ether, but without losing its power. I used to find that he didn't seem to say things directly, everything seemed to be expressed via the prism of sensuousness and so on, and I found that beautiful, but distancing. But that distance seems to be vanishing for me (perhaps a bit like starting to feel Gitanes are real cigarettes rather than just sexy ones  ) and I am spying whole new depths to it. |
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martle
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« Reply #2658 on: 08:59:49, 12-04-2008 » |
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Daniel, I'd bet a fair few people would empathise with that description of your 'coming to a deeper understanding' of Debussy. I think you've got it exactly, certainly as far as I'm concerned.
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Green. Always green.
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opilec
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« Reply #2659 on: 15:19:53, 12-04-2008 » |
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Completely done in by Ančerl's Mahler 9 last night. Now spinning, another couple of classic Ančerl recordings:  |
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richard barrett
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« Reply #2660 on: 16:00:28, 12-04-2008 » |
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Being involved at the moment in labour-intensive but not very interesting copying work, I have decided to listen to every Messiaen piece I have a recording of, in alphabetical order. Yesterday was Catalogue d'oiseaux, Chronochromie and Couleurs de la cité céleste and today I've moved on to Des canyons aux étoiles, surely one of the most magnificent musical expressions of awe at the natural world ever made... and composed with such incredible attention to detail and perspective, one of those pieces with a lifetime's worth of depth and complexity to absorb.
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marbleflugel
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« Reply #2661 on: 16:08:05, 12-04-2008 » |
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Which recording of Des Canyons would you reccomend please Richard? I need to get hold of one I think.
Good luck with the copying. It is a unique form of labour is it not?
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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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richard barrett
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« Reply #2662 on: 16:19:09, 12-04-2008 » |
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Looks to me as though I need to involve myself in some of Ančerl's recordings too, especiallly the Mahler 9 which somehow I've contrived never to hear. Oh, and WF Bach too, I do have a recording of those pieces (by Harald Hoeren) but Robert Hill is one of my favourite players for that kind of thing. they are both on their way.
The recording of Canyons I am listening to is the Myung-Whun Chung on DG which as a performance doesn't quite have the authentic touch of the original recording which was conducted by Marius Constant (with Loriod at the piano), but is much more vividly recorded and in some areas more confidently played. So my answer would be both of these, but either would be fine. There are a couple of others: Salonen (don't go near it, he misses the heart of the music completely) and Reinbert de Leeuw (which I haven't heard because I have an aversion to his conducting so strong that I don't think I could listen properly).
I like copying. It gives me a chance to spend hours listening to music. Also it's probably the only aspect of my work that everyone would have to agree is quite good even if they can't stand the sound of it.
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« Last Edit: 16:32:17, 12-04-2008 by richard barrett »
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Turfan Fragment
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« Reply #2663 on: 16:21:41, 12-04-2008 » |
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Sounds like there isn't a single recording of Des Canyons that one can wholeheartedly recommend?  |
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richard barrett
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« Reply #2664 on: 16:31:53, 12-04-2008 » |
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Don't you pucker your little yellow cheek at me like that, Mr Surfing Figment, I had tried to make it clear that I wholeheartedly recommend both Constant and Chung. (Both recordings can be obtained for a relatively modest outlay.) I just can't really say I prefer one overall to the other.
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marbleflugel
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« Reply #2665 on: 17:06:45, 12-04-2008 » |
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Cheers Richard. I think MYC's Turangalila is about the best of the bunch. I had a go at Constant score a while ago, very substantial even in brief form-also wrote the original soundscore to 'The Twilight Zone' if I remember rightly? I remember Des Canyons conducted by Gary Howarth on R3, shame he hasnt recorded it I think.
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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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Evan Johnson
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« Reply #2666 on: 17:40:13, 12-04-2008 » |
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Looks to me as though I need to involve myself in some of Ančerl's recordings too, especiallly the Mahler 9 which somehow I've contrived never to hear. Oh, and WF Bach too, I do have a recording of those pieces (by Harald Hoeren) but Robert Hill is one of my favourite players for that kind of thing. they are both on their way.
Fascinating -- I'd never heard of Hill before this recording, and his playing is indeed extraordinary. What else of his do you recommend? I thought I had Chung's Des canyons... but I don't (nor anyone else's for that matter); so instead I am now spinning  |
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richard barrett
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« Reply #2667 on: 17:54:11, 12-04-2008 » |
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I'd never heard of Hill before this recording, and his playing is indeed extraordinary. What else of his do you recommend?
He made a few discs of JSB for the Hänssler complete edition, including the putative lute-harpsichord pieces, transcriptions from other composers, early keyboard works and the Art of Fugue, all of which are very fine; also the Schubert violin/keyboard music with Anton Steck. (I came across him first as harpsichordist with Musica antiqua Köln.) |
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Turfan Fragment
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« Reply #2668 on: 18:09:20, 12-04-2008 » |
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Robert Hill also appears in a recording of the Ensemble Aventure  |
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time_is_now
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« Reply #2669 on: 19:48:47, 12-04-2008 » |
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Being involved at the moment in labour-intensive but not very interesting copying work, I have decided to listen to every Messiaen piece I have a recording of, in alphabetical order. Yesterday was Catalogue d'oiseaux ... Which recording of Catalogue? For anyone who doesn't have it, there's an absolutely stunning one here, for not much more than the price of Evan's Jüngere Bach (well, precisely three times as much actually, although I appear to have obtained mine for a measly 10 euros in the famous Concerto of Amsterdam):  Cheers Richard. I think M[W]C's Turangalila is about the best of the bunch. I've never heard it, but his Éclairs sur l'au-delŕ ... is very fine (I'm told Simon Rattle's is in some ways even better, but I feel curiously disinclined to find out for myself). My own favourite Turangalila is Seiji Ozawa's with the Toronto Symphony. I like copying. It gives me a chance to spend hours listening to music. Also it's probably the only aspect of my work that everyone would have to agree is quite good even if they can't stand the sound of it.
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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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