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John W
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« Reply #15 on: 22:22:43, 11-01-2008 » |
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I do have the Strauss concerto, recorded from ClassicFM, it's from Chandos. Not so familiar with that work but as I'm multi-tasking now too, I will dig it out, listen and post the clip later. Cheers.
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Bryn
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« Reply #16 on: 22:28:36, 11-01-2008 » |
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I do have the Strauss concerto, recorded from ClassicFM, it's from Chandos. Not so familiar with that work but as I'm multi-tasking now too, I will dig it out, listen and post the clip later. Cheers.
Easily my favourite Strauss work. |
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John W
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« Reply #17 on: 23:19:38, 11-01-2008 » |
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Easily my favourite Strauss work.
Let it be so, RStrauss Oboe Concerto: endNicholas Daniel, City of London Sinfonia, Richard Hickox I may have only listened to this a couple of times before, and certainly the flourish at the end has similarities to the Mozart quartet. John |
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MabelJane
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« Reply #18 on: 23:51:44, 11-01-2008 » |
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I can tell you, though, that I share your admiration for Mozart's Oboe Quartet, particularly that last minute  and here it is OboeQuartet: endSteven Hammer, oboe, with members of The Academy of Ancient Music. Not my favourite recording, I still prefer the first version I ever bought on a CFP LP, oboeist Ian Wilson. Thanks John, one of my favourite pieces, though I'd find it hard to narrow it down to just my favourite minute! Fond childhood memories of Pat Keysall walking through the Vision On mirror...I like recalling when and where I first grew to love a particular work. (Perhaps we should have a thread devoted to that!) |
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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John W
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« Reply #19 on: 00:06:14, 12-01-2008 » |
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I like recalling when and where I first grew to love a particular work. (Perhaps we should have a thread devoted to that!)
Indeed, over to you Check, we may have one already. I recall, still at school, buying a new record deck and a pile of EMI's Classics For Pleasure around 1970 when I really wanted to be listening to more music (Led Zep, Deep Purple were the thing then). The oboe quartet and the clarinet quintet were discovered then, it wasn't till I moved to Edinburgh that I met anyone else who had ever listened to those Mozart works. Still not seen them performed live, though I have seen the concertos performed locally (Warks.). John |
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Tony Watson
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« Reply #20 on: 00:33:43, 12-01-2008 » |
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I recall, still at school, buying a new record deck and a pile of EMI's Classics For Pleasure around 1970 when I really wanted to be listening to more music (Led Zep, Deep Purple were the thing then). The oboe quartet and the clarinet quintet were discovered then, it wasn't till I moved to Edinburgh that I met anyone else who had ever listened to those Mozart works. Still not seen them performed live, though I have seen the concertos performed locally (Warks.). I love that CfP recording of the oboe quartet too, and the clarinet quintet with Keith Puddy (I think) is a fine version - a mostly light-blue cover with a silhouette of Mozart on it which I must dig out soon. I don't think it's ever been released on CD. I had to study the oboe quartet for CSE music at school (anyone remember CSEs? - my bog standard comp wouldn't offer O-levels so I had to take O-level privately a year later, but at least they gave me a pocket score of the work which I still have - how many state schools would do that nowadays? - how times change!). |
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Sydney Grew
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« Reply #21 on: 11:57:06, 12-01-2008 » |
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Here is Bruckner going into ecstasies. The passage never fails to raise the hair on the back of our neck! We shall be happy if it helps to heighten one or two other Members' awareness of the composer. It certainly surpasses anything of Wagner, and it is quite different from anything of Brahms is it not. Bruckner's slow and aleatory trills are identical in their function to those of Scryabine in his later works. Do not this minute and three-quarters mark the end of Beethoven and all that - the precise moment at which they finally achieve self-transmogrification? We append a little list of the files so far added: http://www.r2ok.co.uk/elgarVII.mp3http://www.r2ok.co.uk/rstraussoboecend.mp3http://www.r2ok.co.uk/wamoboeqt.mp3http://www.r2ok.co.uk/Bruck9.mp31) In the Elgar we are mainly worried that the orchestra is playing too quickly! Could not they have slowed down a bit, especially towards the end of the excerpt? 2) We were unfamiliar before with the passage from the Strauss Oboe Concerto, but we were struck again by one of his habits: namely he seems often to start something, and then to switch to another idea long before he has finished working out the first! There is a logic to music, and Strauss does may we say a good deal of skipping. 3) The Mozart is of course almost incomparably good; what a pleasure it is to hear it again! [ N.B. Mr. W's assistance with the MP3 file is much appreciated!]
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« Last Edit: 17:35:11, 12-01-2008 by Sydney Grew »
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thompson1780
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« Reply #22 on: 12:25:38, 12-01-2008 » |
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I find this really hard - I think for the reaons Richard and Ron cite. A minute in isolation from the rest of the work just loses all its ... erm, context, I guess. Aso, I can't say they are the composers finest moments, as I know very few composers to an extent that I am aware with their 'complete works'.
All the same, I wondered about favourite moments in works. Perhaps by isolating them, you get to understand why they are so good - a bit like tinners' signature about love/breaking/vase.
So, Schoenberg Verklarte Nacht, the D Major chord in Violas and Cellos at bar 229, sehr breit und langsam (and the following minute). What it does to me is to fill me with happiness to be alive, and the wonder at how we humans have the capacity to overcome huge strife. How it does it is surely thaks to the preceeding 228 bars building in tension and creating a picture of that strife, so the minute woudl be nothing without it. But it sure is a fine minute in context!
I have similar moments...
Brahms Symphony No.1 last movement, Horn call just before the allegro. That would be a much lesser experience without the tumultuous strings beforehand.
Beethoven 5th symphony last movement - great because of the tail end of the 3rd movement!
I'll have a think about others...
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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Andy D
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« Reply #23 on: 14:08:28, 12-01-2008 » |
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One obvious example sprang to my mind: the middle of the first movement of Shostakovich's 10th Symphony, this sends shivers up and down my spine whenever I listen to it, as it has done just now when I've been making this excerpt. It's 2'44" so a bit longer than the minute specified and I don't really like taking it out of context. I love whatever it is he does at the end of the climax when he makes a sort of transition into the next section (around 2'00" in my excerpt) http://myweb.tiscali.co.uk/andyd.music2/Shostakovich 10-1.mp3 |
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autoharp
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« Reply #24 on: 17:14:51, 12-01-2008 » |
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I find this really hard - I think for the reaons Richard and Ron cite.
Perhaps we should be considering our favourite one-minute pieces? |
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Reiner Torheit
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« Reply #25 on: 18:45:09, 12-01-2008 » |
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1) In the Elgar we are mainly worried that the orchestra is playing too quickly! Could not they have slowed down a bit, especially towards the end of the excerpt?
They were trying to squash it into the time parameters of the one-minute requirement, Syd. |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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oliver sudden
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« Reply #26 on: 19:34:24, 12-01-2008 » |
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Brahms Symphony No.1 last movement, Horn call just before the allegro. That would be a much lesser experience without the tumultuous strings beforehand. Oo, I have two others from Brahms 1: the beginning of the recapitulation in the first movement with that triplet-duplet scale into the depths, and the return of the chorale near the end of the finale - especially when the conductor (and orchestra!) resists the temptation to slam on the brakes. Which for some reason reminds me of the Schubert Eb major trio: the return of the SLOW MOVEMENT theme in the middle of the finale... |
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martle
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« Reply #27 on: 19:38:17, 12-01-2008 » |
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IN CONTEXT, mind, the last minute - can I have two minutes, please? Three? - of Stravinsky's Les Noces. Those bells are terrifying and ecstatic simultaneously.  |
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Green. Always green.
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Evan Johnson
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« Reply #28 on: 19:57:02, 12-01-2008 » |
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IN CONTEXT, mind, the last minute - can I have two minutes, please? Three? - of Stravinsky's Les Noces. Those bells are terrifying and ecstatic simultaneously. Oh, yes. Can I co-nominate there the last minute or so of the Requiem Canticles, which are even more affecting if you consider them the last minute of Stravinsky's "significant" musical output (disregarding "The Owl and the Pussy-Cat," which I am perfectly happy to do for the purpose). |
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oliver sudden
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« Reply #29 on: 21:59:37, 12-01-2008 » |
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The whole Ravel left hand concerto's pretty amazing but for me the gliss the whole length of the keyboard takes some beating. Sort of as if the whole piece had been heading towards it in a kind of 'I may only have one hand but look how much of this thing I can set ringing at once' kind of way.
Now there's a piece I've known for ages and had never quite got inside but in the last few weeks something seems to have clicked (the impetus being traceable to the Perlemuter video on youtube, although it's François I'm listening to the most) and I now can't get enough of it. It there a thread about that sort of thing somewhere?
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