The Radio 3 Boards Forum from myforum365.com
08:37:54, 01-12-2008 *
Welcome, Guest. Please login or register.

Login with username, password and session length
News: Whilst we happily welcome all genuine applications to our forum, there may be times when we need to suspend registration temporarily, for example when suffering attacks of spam.
 If you want to join us but find that the temporary suspension has been activated, please try again later.
 
   Home   Help Search Login Register  

The Radio 3 Boards > The Radio 3 Boards > Classical Music on Radio 3 > How do you judge a performance / recording?
Pages: 1 ... 3 4 [5]
« previous next »
  Print  
Author Topic: How do you judge a performance / recording?  (Read 2343 times)
thompson1780
*****
Gender: Male
Posts: 3615
« Reply #60 on: 21:43:42, 23-02-2007 »
Quote from: trained-pianist on 21:30:14, 23-02-2007
But here Vengerov explain the sound he wants from the student. What do you think?

Yep, I like the way he approaches this - particularly his change of characters.  Don't think the kid got it really.  Electric Fingers is an interesting bit of teaching.  No actual change in the shape of the bow hold, but the very thought that it's electric will make you hold it in a different way - and be able to apply first finger pressure to the bow in such a way to help the up-bow spiccato.

Cool! Exciting! A bit showy, but that suits the piece.

Tommo
Logged
Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
trained-pianist
*****
Posts: 5455
« Reply #61 on: 22:03:24, 23-02-2007 »
Tommo, I think that he frees the bow grip of a student, but I am not an expert. I only had 5 lessons on viola. I am playing piano all my life, but love violin.
Logged
harrumph
**
Posts: 76
« Reply #62 on: 21:36:03, 25-02-2007 »
Quote from: thompson1780 on 21:34:15, 23-02-2007
Still got the recording?  Want me to try to get a copy to you somehow?
Thank you, Tommo - how very kind; but yes, I do still have the recording, now transferred to CD - the aged LP cleaned up quite nicely  Smiley
Logged
SusanDoris
****
Posts: 267
« Reply #63 on: 17:41:03, 27-02-2007 »
offbeat

The Turangalila Symphony - Messiaen

Listening to this symphony, I realise that I have heard parts on R3 before, which proves that 'once heard, never forgotten, I suppose! I certainly enjoyed listening to it and will be listening again during the next weeks (and years), so that I can get to know it better.
« Last Edit: 17:44:12, 27-02-2007 by SusanDoris » Logged
offbeat
****
Posts: 270
« Reply #64 on: 23:11:56, 27-02-2007 »
Hi Susan Doris
Glad you like Turangalia -i find it very addictive and with all its various orchestrations very exotic  Cool
Logged
smittims
****
Posts: 258
« Reply #65 on: 09:02:32, 28-02-2007 »
In the case of truly great music, I think the composer doesn't always know best how the work should be interpreted. This is because the music is greater and more 'ramificationed' than even he can see, and of course the composer may be too close to the work to see all its potential. Many composers have been surprised to be shown features in their works (structural relationshops,etc.)which  they put in apparently subconsciously.

THis is one reason why I admire Klemperer and Furtwangler so much: because they went to the heart of the music and never let considertions for authenticity get in the way. Delius and Beecham is another example. Delius was no conductor and his scores are not well-edited to tell the performer how to interpret the music(compared with Mahler and Elgar,say).

So my criterion is how moving the performance is,how deeply the interpreter reveals the greatness of the music.

Logged
thompson1780
*****
Gender: Male
Posts: 3615
« Reply #66 on: 16:29:01, 28-02-2007 »
Smittins,

What a beautiful answer!  Thank you.

I shall yet to remember this insight about finding the greatness when I'm next rehearsing or learning a work.

Tommo
Logged
Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
Pages: 1 ... 3 4 [5]
  Print  
« previous next »
 
Jump to: