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Evan Johnson
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« Reply #465 on: 14:53:56, 08-05-2007 » |
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Well, hand me a chalumeau and call me Ollie, I'll be damned if he wasn't right about this:  A stunningly beautiful and appropriately ear-cleansing disc. Heartily seconded (or more like thirtiethed, since Ollie has already seconded and thirded and fourthed...) so, how about that Verlet recording of Froberger, Herr Plötzlich? |
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Bryn
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« Reply #466 on: 15:02:07, 08-05-2007 » |
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O.K., FVZ and Rusian works from 1946 (Galynin, Shostakovich and Ustvolskaya) put back in their cases now. On to Music on a Long Thin Wire, (Lucier). Much evidendence of hoarmonic tuning in that.  |
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aaron cassidy
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« Reply #467 on: 15:54:38, 08-05-2007 » |
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On to Music on a Long Thin Wire, (Lucier). Much evidendence of hoarmonic tuning in that. Ever heard/seen it live, Bryn? http://www.aaroncassidy.com/photos/marathon06/DSC00179.jpghttp://www.aaroncassidy.com/photos/marathon06/DSC00175.jpg (a photo of my very fine students who set it all up) We had it running for about 12 hrs or so. Really quite something. NS for me while I plug away at still more copying work ... Beethoven Piano Concertos (+ three sonatas, warhorses all), AAM/Christopher Hogwood/Steven Lubin. Don't like it nearly as much as the Gardiner/Levin recordings on Archiv, but, alas, my copy of that set was stolen a few yrs ago, and I've never been able to replace it. After that, a spin through the concert recordings of the JACK Quartet from their time in Chicago last week (Lachenmann, Xenakis, Cassidy, Travers, and a gorgeous new work by a student here at Northwestern). Keep your eyes out for these guys -- they're the real thing! Absolutely astonishing playing, particularly for a bunch of 20-somethings. |
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« Last Edit: 16:01:27, 08-05-2007 by aaron cassidy »
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Bryn
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« Reply #468 on: 16:07:15, 08-05-2007 » |
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Regretably, no, aaron. Last time I saw/heard Lucier play must have been at the US Embassy in London, back in the early '70s, (SAUNY).
Re. the Beethoven Piano Concertos, do try and get to hear Immerseel/Tafelmusim/Weil on Sony. Not too easy to find, but I might be able to assist there, (as also with the Levin/Gardiner). For 4 & 5, do also make a point of hearing Schoonderwoerd/Cristofori on alpha 079. The Adagio un poco moto is a bit slow for me, but then, even Tan/LCP/Norrington drag it a bit for my taste. ;-)
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« Last Edit: 16:24:56, 08-05-2007 by Bryn »
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richard barrett
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« Reply #469 on: 16:55:31, 08-05-2007 » |
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Agreed with Bryn about Immerseel's Beethoven. IMO Levin sounds superficial in comparison, and he spreads the first chord of the 4th, which for me spoils the entire piece. I must look out that Schoonderwoerd, I've heard from a number of sources that it's a fine thing.
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time_is_now
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« Reply #470 on: 17:17:55, 08-05-2007 » |
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Institute of Sonology - His Master's Noise, with classics by Xenakis, Varèse, Koenig, Ligeti and other stuff including RB's Katasterismoi (which I didn't know was commercially available until I spotted this 2CD set on Amazon.fr for 18 euros last week  ). Had the bright idea of getting my mail-order CDs delivered to work, since if they go to home they tend to pile up unheard on my desk until I manage to clear the schedule for a listening day. Unfortunately I had to turn this off a couple of minutes into Richard's piece because it doesn't work very well on headphones (I was feeling kinda sea-sick  ).
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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 #471 on: 17:28:57, 08-05-2007 » |
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Agreed with Bryn about Immerseel's Beethoven. IMO Levin sounds superficial in comparison, and he spreads the first chord of the 4th, which for me spoils the entire piece. I must look out that Schoonderwoerd, I've heard from a number of sources that it's a fine thing.
Be warned, Richard, Schoonderwoerd is a spreader, too. I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence. |
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richard barrett
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« Reply #472 on: 17:51:09, 08-05-2007 » |
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I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence.
That's as may be, but I can't get used to it. It seems to me too, what's the word, "musical". |
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richard barrett
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« Reply #473 on: 17:57:26, 08-05-2007 » |
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Unfortunately I had to turn this off a couple of minutes into Richard's piece because it doesn't work very well on headphones (I was feeling kinda sea-sick ). Listening to it on headphones is almost as good as hearing it at a fairly high level in a beautiful-sounding hall on a well-balanced 4-channel system (which is a bit like having the entire audience wearing a huge pair of headphones). It's actually a stereo piece but incorporates a technique called binaural filtering which gives the effect of the sounds spinning around your head. I guess one can't please everybody. |
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time_is_now
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« Reply #474 on: 18:02:48, 08-05-2007 » |
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Maybe you'd have been happier if I'd said it worked too well on headphones? |
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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 #475 on: 18:24:23, 08-05-2007 » |
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I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence.
That's as may be, but I can't get used to it. It seems to me too, what's the word, "musical". Richard, when I first heard it, the shock was a bit like when I first heard Ives's 1st Symphony played with the misprint in the main theme of the first movement remaining uncorrected. Having got rather used to the Morton Gould recording with the Chicago Symphony, to hear it played 'right' just sounded 'wrong'. Or when I first heard Varèse's Poème Électronique without the final peroration of Hyperprism preceding it, (I only knew it from a Network 3 broadcast where the 'turntablist' had raised the platter to the stylus too early in the groove). I am happy either with or without the spread chords now. I also still very much like the uncorrected opening of Ives's First, as done by Gould. ;-) |
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roslynmuse
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« Reply #476 on: 22:59:17, 08-05-2007 » |
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I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence.
That's as may be, but I can't get used to it. It seems to me too, what's the word, "musical". Reminds me of my comment to a student a few weeks back - "stop playing it like a pianist!" |
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Ian Pace
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« Reply #477 on: 23:05:16, 08-05-2007 » |
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I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence.
That's as may be, but I can't get used to it. It seems to me too, what's the word, "musical". Reminds me of my comment to a student a few weeks back - "stop playing it like a pianist!" If you recall, the beginning of the piano thread was in part provoked by that comment, roslynmuse - you were, er, possibly going to explain precisely what you meant by it? One friend (another pianist) once said to me after a performance of Messiaen's Reveil des Oiseaux, 'It started off a bit musical, but it got better' (I completely agreed). |
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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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roslynmuse
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« Reply #478 on: 23:15:32, 08-05-2007 » |
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I don't know what research hey base such an approach on, but I dobt it's done without some fairly strong supporting historical evidence.
That's as may be, but I can't get used to it. It seems to me too, what's the word, "musical". Reminds me of my comment to a student a few weeks back - "stop playing it like a pianist!" If you recall, the beginning of this thread was in part provoked by that comment, roslynmuse - you were, er, possibly going to explain precisely what you meant by it? One friend (another pianist) once said to me after a performance of Messiaen's Reveil des Oiseaux, 'It started off a bit musical, but it got better' (I completely agreed). I think it was on the piano thread; and you actually explained it perfectly!  But, to be clear, it's the whole business of coy phrasing, pseudo-expressive mauling, the oh-so-significant stress on notes that don't need it... Admittedly, every instrument (not to mention singers...) has its own accumulation of expressive debris, but really great players don't draw attention to it (how's that for a stating the obvious statement...) One example - I remember coming across a score in our library of Ravel's Miroirs; over the opening bars of Vallee des cloches, the (celebrated - very individual handwriting!!) tutor had written "don't play in time! bells don't ring in time!" Ravel's carefully notated rhythms - the composer himself obscuring the pulse! - went for nothing... Sorry - off-topic, unless I dash off and listen to Miroirs now... |
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oliver sudden
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« Reply #479 on: 21:08:06, 09-05-2007 » |
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every instrument (...) has its own accumulation of expressive debris
Thank goodness for these.  (If you look closely you'll see it's also suitable for 'Body Flute'. How handy.) Here it's Graupner. Some cantatas for bass sung by Klaus Mertens. Nice enough but not blowing me away though. Bought the disc out of curiosity to hear what the overture in Bb for chalumeau and strings sounded like when not being played by Jean-Claude Veilhan. 'Not as good' is the current answer to that question. |
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