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Andy D
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« Reply #3435 on: 20:45:44, 31-08-2008 » |
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Kevin Volans - Hunting: Gathering (String Quartet no 2) played by Duke Quartet
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Ron Dough
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« Reply #3436 on: 21:00:53, 31-08-2008 » |
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Yes, r: I've mentioned the Leppard live version with Barstow recently: hers is a rather different approach. I can't remember whether it was Tippett or Colin Davis who mentioned the very strange Ulster-cum-American accent that Harper adopted at the premiere, and which is still present to a certain extent on that recording. Hickox has Faye Robinson, an authentic African-American singer, but her words are indistinct, and she has no idea what to do with the spoken lines: they're just wooden. Barstow starts from the sense of the words rather than the music, and her naturally smokier voice rather than Harper's slightly steely ring seems to me ideal. I taped the concert when it was broadcast, and was wowed by the performance, and was very pleased to see it released commercially, although the label was short-lived. I have the premiere on tape, too, though I had to get someone else to press the buttons, since I was there (and of course any important concert was broadcast live in those days....).
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strinasacchi
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« Reply #3437 on: 21:08:09, 31-08-2008 » |
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Now spinning: my head. After the Schmelzer discussion I had a look through a few of his violin sonatas. Why have I not worked on these before? Could I have been put off by my recording (John Holloway, not my favourite baroque fiddler)?
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richard barrett
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« Reply #3438 on: 22:02:21, 31-08-2008 » |
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David Tudor's excellent electronic piece has been followed by sonatas by Francesco Turini (Monica Huggett et al), which didn't really receive my full attention I'm afraid, and now improvisations for trumpet and electronics by Birgit Ulher and Gino Robair, which are doing so.
A couple of those Schmelzer violin sonatas, the two that use ostinato bass throughout, are particular favourites of mine.
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« Last Edit: 22:06:11, 31-08-2008 by richard barrett »
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Evan Johnson
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« Reply #3439 on: 02:47:41, 01-09-2008 » |
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Now spinning: my head. After the Schmelzer discussion I had a look through a few of his violin sonatas. Why have I not worked on these before? Could I have been put off by my recording (John Holloway, not my favourite baroque fiddler)?
I'm quite fond of the Romanesca recording, though of course that implies Manze, so... Soon to be spinning, maybe, are Hopkins' Etudes en série which I apparently like. I could use something I apparently like, since my PowerBook crapped out on me today and it is currently in the queue for repairs that cost more than many a new laptop... whee. |
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Turfan Fragment
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« Reply #3440 on: 03:07:40, 01-09-2008 » |
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NS Feldman's Violin Concerto. With Isabelle Faust. After the pathetic contribution by Mssrs Halffter and Zukofsky (is that correct? the first recording?) this is a fantastic version of one of my favorite Feldmans.
Currently I'm removing all the music files from my wife's computer and putting them on my own. Because she's a PC and I'm a Mac, this doesn't go very quickly.
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Turfan Fragment
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« Reply #3441 on: 09:09:10, 01-09-2008 » |
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NS A Swedish composer's evening-length ode to an organ stop
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harmonyharmony
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« Reply #3442 on: 18:05:10, 01-09-2008 » |
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Klaus Lang, Missa Beati Pauperes Spiritu
It's nice but I don't like the way it's been recorded.
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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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Ian Pace
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« Reply #3443 on: 00:23:52, 02-09-2008 » |
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Not actually now spinning but it was yesterday and a certain percentage of it will be burbling out of my clarinet in a few hours from now: Lachenmann, Mouvement.
I have completely gone off this piece. What crepe timing.
This has for quite some time struck me as one of Lachenmann's weakest pieces. His 'critical' musical intelligence, to my ears, manifests itself through his very 'resistance to habit' (his own term, I know, but appropriate), the ability most of the time to avoid simply going through well-worn compositional paths, note-spinning, or other forms of formulaic writing; his use of proportions (on both micro- and macro-levels), the relationships he sets up between sounds and materials, the discursive framework, and much else, seem continually to be venturing away from the tried and tested, though never in an arbitrary fashion, always creating meaningful relationships with existing conventions. I don't think it's too over the top to compare Lachenmann with Bach or Brahms in this respect. But quite a bit of Mouvement is really not like this, even to the extent of sounding a bit like not particularly good cartoon music (without irony) in one passage. It even seems quite a 'safe' piece in many ways (much more so than late-ish works such as Serynade or Grido which do not really feature any major new innovations in any sense, though still to me sound utterly individuated and much more than simply a rehash of past glories). |
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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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brassbandmaestro
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« Reply #3444 on: 12:55:31, 02-09-2008 » |
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Prince of the Pagodas.(Britten). London Sinfonietta/Olliver Knussen.
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oliver sudden
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« Reply #3445 on: 10:54:37, 03-09-2008 » |
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Messiaen: Des canyons aux étoiles... - various Netherlanders under the direction of Reinbert de Leeuw.
I don't think it's quite up with Constant but it's the only one I've heard that comes close. The sounds are warmer (of course!) but there are inevitably a few things that aren't quite as close to the source. I don't think I'll ever get to the point where I don't miss Loriod in the piano part, but even more so Barboteu in the horn solo - the half-valve moments are, I'm told, pretty much hopeless on rotary valves. (They're possible but the tolerance is so fine for them to work properly that in performance you can pretty much forget about it.)
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autoharp
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« Reply #3446 on: 11:16:55, 03-09-2008 » |
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Two CDs of orchestral music by Vitezslav Novak, thanks to the generosity of a gentleman of this forum. One contains In the Tatra mountains (1902), Eternal longing (1903-5) and the 5-movement Slovak suite (1903), three pieces which launched his popularity. The other features later works - Lady Godiva (1907), Toman and the wood-nymph (1906-7) and De profundis (1941). This is impressive stuff and well orchestrated, too. On the one hand it doesn't immediately sound too different linguistically from other music of that time: on the other it's quite difficult to pigeonhole, the later pieces revealing an admiration for Strauss, but without sounding heavy-handed, uneconomic or even Germanic. Surprisingly, the latest piece ( De profundis) is not essentially stylistically different from the earlier, although the counterpoint is more involved and the textures leaner. From a first listen, Toman and the wood-nymph (more substantial and hard-hitting than the title might suggest) is the winner. Certainly as striking as The Storm which has been talked about on its own thread. http://r3ok.myforum365.com/index.php?topic=773.0 |
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« Last Edit: 11:18:46, 03-09-2008 by autoharp »
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Ron Dough
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« Reply #3447 on: 11:45:02, 03-09-2008 » |
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Doesn't Eternal Longing suddenly do something most daringly un-Straussian in the last few bars? It's a good while since I last heard it, but I seem to remember a sudden venture into what might almost have been a cluster based on the harmonic series: a momentary glimpse of a tonally different world.
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autoharp
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« Reply #3448 on: 12:03:53, 03-09-2008 » |
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Sounds appetising, Ron! But it doesn't fit any piece I have. Eternal longing itself ends on a longish C major chord with an added 6th.
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Jonathan
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« Reply #3449 on: 18:48:58, 03-09-2008 » |
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Karg-Elert piano works, volume 4. Very odd music, worth a listen IMHO!
Later on possibly Prokofiev Ballet Transcriptions for piano and Thuille Piano Quintets.
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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