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Evan Johnson
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« Reply #795 on: 17:21:53, 24-07-2007 » |
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Now spinning: Aldo Clementi, "Works with Guitar", Morris/ELISION on Mode.
Again? Yes, again. I can't get enough.
If any conductors are reading this for whom this might be particularly relevant, kudos, sir.
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oliver sudden
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« Reply #796 on: 17:27:47, 24-07-2007 » |
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Boulez, 'Le Marteau sans Maitre' in a bid to get to know it better since I'm allegedly conducting it just before Christmas...
Oo, I know someone who's conducted that. A heap of fun he had, too. that introduction! do the wind section have gills??
I reckon I've a fair idea what the trumpeter had in great quantity and gills it ain't although the majority of the letters seem to be right...  |
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oliver sudden
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« Reply #797 on: 17:29:07, 24-07-2007 » |
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Again? Yes, again. I can't get enough. Goodness me. Would have thought he'd already written in enough repeats!  |
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oliver sudden
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« Reply #798 on: 20:39:43, 24-07-2007 » |
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Think you've heard it all? Think timpani in baroque/classical music are just for playing V-I? Think Beethoven writing for 2 timps in octaves was an innovation? Just step right this way, ladies and gentlemen: http://www.naxos.com/catalogue/item.asp?item_code=8.557610 Deeply wacky. Don't miss the Molter: timps playing most of the diatonic scale down to low F while the trumpets hoon away up to four octaves higher. Thanks to IGI for pointing me at this yesterday. It now has a more upmarket cover by the way:  ...and also a sequel. (Er, Aaron, I suspect you won't like it. I reckon to you it'll sound like a lot of naff proto-Classical gear with a lot of banging around in the basement of approximately discernible pitch. ) |
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« Last Edit: 20:52:55, 24-07-2007 by oliver sudden »
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oliver sudden
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« Reply #799 on: 20:58:15, 24-07-2007 » |
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The drums are as little as half the size of some 'normal' timps now. The skins are rather looser but the sticks are wooden-headed, in other words hard. This Peter chap uses old-style hand-tuned drums - I can't really imagine someone being able to get around an eight-drum setup of modern timps. There are some sound clips on the Naxos site which are worth hearing if only to hear the weirdness that results from severe audio compression of a timpani cadenza.  |
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oliver sudden
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« Reply #800 on: 00:18:21, 25-07-2007 » |
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Graupner and Molter were writing their multi-timp pieces around 1750, Druschetzky lived until 1819 and was certainly still turning out the zaniness (the concerto for oboe, 8 timpani and strings, for example) until at least 1800. That kind of writing seems to have come out of the military band guilds so the connection to military music is still very present even in the concert pieces. Thing about the small drums is that they're not actually very high: the pieces here only go up to the usual f/g in the bass stave. Cheers, Opilec! |
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Evan Johnson
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« Reply #801 on: 17:26:04, 25-07-2007 » |
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 Nicolaus A. Huber chamber music, Ensemble Aventure on Ars Musici. Don't fence me in (for flute, oboe, clarinet) in particular is a stunning piece. |
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Ron Dough
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« Reply #802 on: 18:19:30, 25-07-2007 » |
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Rautavaara: Vigilia: Ondine ODE 910-2
I picked this up in a sale just before I moved, and it was in a box I collected from the stores this week, still with its HMV £4.99 sticker on. I'd not heard it before, but it's an absolute joy, with the Finnish Radio Chamber Choir as it then was (dropped by the Finnish Broadcasting Organisation it's now the Helsinki Chamber Choir). Stunning singing, with a particularly fine young bass soloist (Jyrki Korhonen) who has a voice as rich and dark as molasses. I'd place the musical style somewhere in a triangle bounded by Rachmaninov, Vaughan Williams and Messiaen, say: one for a darkened room and candles.
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dotcommunist
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« Reply #803 on: 18:43:04, 25-07-2007 » |
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Captain Beefheart , Strictly Personal. still one to raise the spirits, and still.... haven't grown out of it  |
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Bryn
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« Reply #804 on: 20:20:39, 25-07-2007 » |
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Captain Beefheart , Strictly Personal. still one to raise the spirits, and still.... haven't grown out of it And I would hope not, too. To have "grown out" of it would indicate your end had come, surely. Now, the crucial question; is it the mono or 2 channel mix you are listening to. |
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xyzzzz__
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« Reply #805 on: 21:21:24, 25-07-2007 » |
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Over the last few days - Rebecca Saunders 'Rubricare', and pieces by Schurig, Clarke, Matteo Da Perugia.
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Biroc
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« Reply #806 on: 00:48:02, 26-07-2007 » |
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Tchaikovsky, Romeo and Juliet Fantasy Overture, Berlin Phil, Celibidache. Gorgeous.
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"Believe nothing they say, they're not Biroc's kind."
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Biroc
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« Reply #807 on: 01:30:18, 26-07-2007 » |
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Saint-Saens, Fantasie in Eb for organ. Love this piece...
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"Believe nothing they say, they're not Biroc's kind."
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oliver sudden
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« Reply #808 on: 07:33:13, 26-07-2007 » |
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Telemann Water Music in a vain attempt to help my brain start up for the day. I'll just have to lurch on through the day with unstarted brain as usual.
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richard barrett
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« Reply #809 on: 09:30:28, 26-07-2007 » |
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My startup music will, in a minute or two, be Carter's Boston Concerto, not necessarily because I think it would be more efficacious than Telemann, but because I was listening to it yesterday evening before guests arrived for late drinks (which became early ones) and I have some unfinished business with it.
Before that it was Feldman's Piano, Violin, Viola, Cello, which I believe is his last work. Maybe I was in a sentimental sort of mood but I found the oblique references to "Pas sur la neige", and the entry of a new motif just before the end of its 80 minutes, very touching.
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