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Turfan Fragment
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« Reply #3480 on: 17:21:46, 07-09-2008 » |
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Bunita Marcus - no relation to Imelda.
[drifts off]
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harmonyharmony
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« Reply #3481 on: 17:26:17, 07-09-2008 » |
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Bunita Marcus - no relation to Imelda.
[drifts off]
oh yes. clarinet and string quartet. [sea drifts] |
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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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brassbandmaestro
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« Reply #3482 on: 18:15:11, 08-09-2008 » |
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Something of a Handel sequence, apart from one by Telemann.
The Four Coronation Anthems*; Music for the Royal Fireworks; Water Music; Overture in C major(Wassermusik),(Telemann).
*The Choir of New College, Oxford, The King's Consort, Robert King.
Ode for St Cecilia's Day(Jill Gomez, Robert Tear, Choir of King's College, Cambridge, ECO, Sir Philip Ledger.
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Ted Ryder
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« Reply #3483 on: 18:39:37, 08-09-2008 » |
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Last act of "Meistersinger" Rafael Kubelik, Stewart, Kona and the wonderful Janowitz who leads a magical quintet. Hemsley does not ham-up Beckmesser but if anything makes his "Prize Song" rather attractive perhaps he should, like Walter, have been allowed a few rehearsals! Kubelik avoids all the "Teutonic Problems" of the last scene. Lovely.
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I've got to get down to Sidcup.
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time_is_now
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« Reply #3484 on: 18:41:09, 08-09-2008 » |
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Kubelik avoids all the "Teutonic Problems" of the last scene. How does he do that, then? (Or am I missing the point? ...) NS chez time: Roger Sessions, Concerto for Orchestra. I've owned this CD for a while but not sure I've ever listened to it properly before. Parts of it sound a bit like Maxwell Davies without the tuned percussion, which I suppose isn't entirely surprising, since Sessions was his teacher; though other parts of it are simpler in their language and it even has the odd Coplandesque moment. (Minor mystery: why does '-esque' feel like the most appropriate suffix for the not particularly French 'Copland'??) |
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« Last Edit: 18:50:07, 08-09-2008 by time_is_now »
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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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Ron Dough
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« Reply #3485 on: 18:56:04, 08-09-2008 » |
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Because he's one of the baker's dozen, having spent some of his formative years chez Boulanger?
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Ted Ryder
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« Reply #3486 on: 19:12:27, 08-09-2008 » |
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Well tinners, hope it's Ok to address you so  , I feel that the conductor and Sachs can, as in this case, make the sentiment of the words and music sound noble and joyous and persuade us to avoid retrospective historical (mis)judgements. It also helps when, as here, the citizens dance for fun and do not goose-thump. Or do you believe we can never now hear this masterpiece with an innocent ear? Or am I, in turn, missing your point? |
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I've got to get down to Sidcup.
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time_is_now
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« Reply #3487 on: 19:17:07, 08-09-2008 » |
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I did wonder about that, Ron, but I think I'd use 'Coplandesque' for Stewart too * ... Or did he also study with la maîtresse de la grande ligne?  Thanks, Ted (and of course you may! ). I thought that's the sort of thing you might have meant, but I suppose I asked partly because I wondered whether you thought the "Teutonic Problems" were intrinsic to the opera, or more in the nature of a later association which one now has to be careful to avoid or steer clear of. I'm not sure what I think myself, or where I'm heading with this thought, but I think your use of the word 'retrospective' answers my question. Interesting, in any case, to think that performers can 'restore innocence' to a work, as it were. *Actually, scrub that. He's Copeland. I knew that, honest!  |
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« Last Edit: 19:27:16, 08-09-2008 by time_is_now »
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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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Bryn
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« Reply #3488 on: 22:33:53, 08-09-2008 » |
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NS: An audio only DVD-R knoocked up from the DAB broadcast of last night's Messiaen Prom. A very pleasant memento of the event.
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Ian Pace
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« Reply #3489 on: 15:38:20, 09-09-2008 » |
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NS: Hindemith Four Temperaments with Hans Otte at the piano, and Hindemith himself conducting members of the Berlin Philharmonic (it's in the Hindemith conducts Hindemith DG set, which can be got at a very reasonable price). Wonderful playing on all parts, and fantastic to hear Otte in this context. I only recently became aware of the existence of this recording: Otte is (a little) better known as a composer, especially for such work as Das Buch der Klänge and a few others (his earlier serial/experimental work is very little-known at all, though). But for quite some time in the 1950s he had a successful career as a pianist, touring regularly, before his first really mature compositions (what I know of his earliest work is heavily derivative of Hindemith, who was his teacher). Otte studied with Walter Gieseking (one of pianistic heroes), and was regularly touted as being of the 'Gieseking school'. The influence is there in the directness of utterance, clarity, unfussiness and colouration, though Otte is certainly his own man. A shame he didn't record more other music of others. Highly recommended - could (almost) make me like the piece!  |
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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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Turfan Fragment
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« Reply #3490 on: 16:01:39, 09-09-2008 » |
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*Actually, scrub that. He's Copeland. I knew that, honest! Are we talking about Aaron Copland? He's no Copeland. |
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time_is_now
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« Reply #3491 on: 16:08:25, 09-09-2008 » |
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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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Turfan Fragment
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« Reply #3492 on: 16:12:11, 09-09-2008 » |
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*Duh , oops.
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brassbandmaestro
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« Reply #3493 on: 16:54:05, 09-09-2008 » |
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Seem to be having something of an obsession with composer's names beginning with D!! This is the sequence.
Debussy: Berceuse heroique(Eduard van Beinam); Images; Images; Marche Ecossaise; Prelude a l'apres midi d'un faune; La Mer; Premiere Rapsodie; Danse pour harpe et orchestre(Various soloists, Royal Conceetgebouw Orchetsra Amsterdam, Bernard haitink).
Maurice Durufle; Requiem, Op.9; Quatre Motets, Op10. (Ann Murray, Sir Thomas Allen, Thomas Trotter, organ, The Corydon Singers, Matthew Best).
Duttileux: Metabol; *Tout un monde lointain; Mystery of the Moment(*Boris Pergamenschikov, cello, BBC PO, Tortelier)
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increpatio
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« Reply #3494 on: 20:27:29, 09-09-2008 » |
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Now spinning, Franz Reizenstein: Sonata No. 2, Legend, Scherzo in A, Suite by Philip Martin. Actually quite enjoying it (I haven't listened to it before, and didn't think I'd be in the mood for it. But it seems I am ). A lot of the melodies have a definite fugal energy and oomph to them, though there isn't too much in the way of counterpoint around really in the music (at least not that I've seen so far). |
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« Last Edit: 20:30:08, 09-09-2008 by increpatio »
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