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Tony Watson
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« Reply #150 on: 21:32:38, 19-03-2007 » |
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Oh sure, I just wish they made an air freshener called Scent of Bavarian Leather Pants. My house would be a really nice place to come home to then.
Actually I was invited to a beer-drinking festival in Bavaria last October but I just couldn't make it.
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Tantris
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« Reply #151 on: 21:46:42, 19-03-2007 » |
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I thought this evening's Mahler Nine (BBCSSO / Volkov) was very, very good - one of the most affirmative readings I have heard. I must listen to it again before I go to sleep tonight. What did others think?
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thompson1780
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« Reply #152 on: 21:48:24, 19-03-2007 » |
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Should authentic performances be accompanied by authentic smells? L'aura de Lederhosen may be good for Mahler.........
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Tony Watson
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« Reply #153 on: 21:56:24, 19-03-2007 » |
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Smells with concerts. That could bring the audiences back for classical music and the possiblities are many.
If a pianist included Grieg's The Pig (Grisen) and Cow-Call (Kulokk), appropriate farmyard smells could be pumped into the hall.
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roslynmuse
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« Reply #154 on: 22:04:06, 19-03-2007 » |
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Did anyone go to Opera North's scratch and sniff Love for Three Oranges? (c 1992?)
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trained-pianist
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« Reply #155 on: 22:05:48, 19-03-2007 » |
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I like this idea with smells. I think it is very innovative idea. I heard about visual display, but smells can be relaxing if they are not obscene. I find cow smell very stimulating for intellectual discoveries.
I listened to Mahler's 9th symphony today (did not have time for the whole thing, had to stop after first movement.)
I would not recognize it as Mahler have I not known what was being played. I thought this symphony is very different than the rest of them. Am I mistaken or is it so?
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Ian Pace
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« Reply #156 on: 22:13:15, 19-03-2007 » |
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I heard about visual display, but smells can be relaxing if they are not obscene. I find cow smell very stimulating for intellectual discoveries.
Might be interesting to test that one out more widely?  |
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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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tonybob
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« Reply #157 on: 22:13:55, 19-03-2007 » |
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I listened to Mahler's 9th symphony today (did not have time for the whole thing, had to stop after first movement.)
I would not recognize it as Mahler have I not known what was being played. I thought this symphony is very different than the rest of them. Am I mistaken or is it so?
it all depends how it's performed - the differences in approach of, say, Klemperer and Walter can make it sound like completely different pieces of music. which performance were you litening to? |
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sososo s & i.
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trained-pianist
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« Reply #158 on: 22:20:43, 19-03-2007 » |
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It was Volkov conducting the BBC Scottish Symphony Orchestra on Performance at 7 on radio 3.
Since I can not compare it to other performances I only can say about the first impression that I had.
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offbeat
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« Reply #159 on: 23:34:26, 19-03-2007 » |
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Hearing Mahler's Sixth on CD Masters recently i noticed the andante was placed second and scherzo placed third...although in the context of the mood of the whole symphony i suppose this makes sense i still prefer the andante placed third - i always think of it as an uneasy island of peace after the two traumatic movements before it and the thunderous finale  |
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roslynmuse
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« Reply #160 on: 23:52:38, 19-03-2007 » |
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Offbeat, I agree - see my message 55 above!
Has anyone ever heard (and is anyone able to verify) the story about the (first?) UK broadcast (live?!) of Mahler 6, produced by Robert Simpson, in which each of the hammerblows was accompanied by the sight of the hapless percussionist following his hammer through the floor of the stage in the old hall where the broadcast was coming from; then re-emerging, covered in dust and cobwebs, only to have to put himself through it again?
If it isn't true, it should be!!!
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thompson1780
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« Reply #161 on: 09:35:05, 20-03-2007 » |
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To avoid smells hijacking this thread, I have set up one in making music, called concert hall ambience.
Back to mahler
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Stevo
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« Reply #162 on: 13:58:05, 20-03-2007 » |
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Hearing Mahler's Sixth on CD Masters recently i noticed the andante was placed second and scherzo placed third...although in the context of the mood of the whole symphony i suppose this makes sense i still prefer the andante placed third - i always think of it as an uneasy island of peace after the two traumatic movements before it and the thunderous finale According to the most recent Critical Edition of Mahler's 6th, it should now be Andante-Scherzo, which overturns the Ratz edition. |
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tonybob
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« Reply #163 on: 14:02:46, 20-03-2007 » |
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it's an easy choice for me; the scherzo's opening is too similar in rhythm and appearance to the opening of the first movement, so i prefer it third.
imo
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sososo s & i.
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MeKurwenal
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« Reply #164 on: 19:50:10, 20-03-2007 » |
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Mahler was still having second thoughts about the order of the movements, when death intervened...hence the new critical edition favouring Andante second.
It does not make sense to me though....his first thoughts seem clearly correct : the first movement and scherzo live mainly in A minor and follow a similar rhythmic path..
the collapse, and warm embrace of Eb major in the beautiful slow movement, only feels correct after the tumult of those 3 successive movements...as is more than made clear by the epic finale crashing and subsiding back to a remorseless A minor....
imho of course....
The older Bernstein which still play a lot, follows this sequence. The newer Abbado, though a thrilling performance goes the new way. After repeated listenings I still cannot "take" it, so I programme the CD to play the slow movement 3rd....
It is good though that we all find our own rewards in listening to Mahler.
MK
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