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Baz
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« Reply #165 on: 15:29:39, 18-05-2008 » |
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A funny experience! I've just come from my psychoanalyst after being disturbed by Mr Grew's last two Bach crackpot versions. He hooked me up to a funny machine, and managed to download from my brain (in what he called "de-corrupted binary code") a strange file. He then gave me a computer flash drive, on which was the following file - it explains quite a lot about my brain I think... CLICKBaz |
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« Last Edit: 17:41:03, 18-05-2008 by Baz »
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Sydney Grew
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« Reply #166 on: 11:18:57, 19-05-2008 » |
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We are favourably impressed by the clever post-psychiatric organist of message 165, and particularly by his performance of Bach's modernistical chromatic side-slips in bars 34, 37, 39, and 41 which are brought out much more clearly than we have ever heard them done before. But now it looks as though all those miserable wingeing people in the "life challenges" thread urgently want cheering up! Do not forget that as Pater tells us "success in life is to pass most swiftly from point to point, and to be present always at the focus where the greatest number of vital forces unites in their purest energy." Do not forget also that when he says "our failure is to form habits" he does not mean that we fail to form habits, but quite the opposite, namely that if and when we form habits we fail. So with that in mind let us to-day present for a change a little Landowska extravaganza. Here are four links and each one leads to a different pair of works: one two three four. . . . Interestingly there are a number of discrepancies between the versions played by Madame L. and several of our own printed editions. For example in Fugue 8 (D sharp minor) of the second Book we heard just now quite important things in bars eleven and fourteen hitherto unknown to us and foreign also to Tovey, Mugellini, etc. But upon checking the Urtext we find them there all right so evidently she was right and every one else mistaken. (Czerny has one right but the other wrong.) |
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« Last Edit: 12:22:52, 19-05-2008 by Sydney Grew »
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Sydney Grew
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« Reply #167 on: 11:41:48, 19-05-2008 » |
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To-day's crackpot contribution is one in which Bach himself shewed that he could be something of a crackpot; it is one of his several eccentric two-part caprices, the D sharp minor Prelude from Book II ( rapidshare or sendspace). Both the repeats are observed in this rendition in order that Members might be afforded double the pleasure. It will be noted that our crackpot version of this Prelude moves along about twice as quickly as Madame Landowska's, and it is about twice as amusing too. Indeed it is our view that all Bach's works in this style were written with a comic intention to-day regrettably seldom permitted to protude in performance. We are not exactly beside ourselves with mirth, because it is after all German humour, but works of this kind could we think be rendered with much more of the slap-stick even than is customarily the case. Here it is difficult to believe that Madame L. is attempting the same piece! |
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« Last Edit: 15:27:21, 19-05-2008 by Sydney Grew »
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Baz
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« Reply #168 on: 13:38:43, 19-05-2008 » |
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Interestingly there are a number of discrepancies between the versions played by Madame L. and several of our own printed editions. For example in Fugue 8 (D sharp minor) of the second Book we heard just now quite important things in bars eleven and fourteen hitherto unknown to us and foreign also to Tovey, Mugellini, etc. But upon checking the Urtext we find them there all right so evidently she was right and every one else mistaken. (Czerny has one right but the other wrong.)
But she does not follow the Urtext in bar 29 of the fugue does she? She seems to forget that the LH must have A#s throughout the bar, and this leads to some tonal confusion at the cadence! Even though this music - as here - may be taken at a monumentally funereal tempo, concentration should never be permitted to lapse! Baz |
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Baz
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« Reply #169 on: 13:47:11, 19-05-2008 » |
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To-day's crackpot contribution is one in which Bach himself shewed that he could be something of a crackpot; it is one of his several eccentric two-part caprices, the D sharp minor Prelude from Book II ( rapidshare or sendspace). Both the repeats are observed in this rendition in order that Members might be afforded double the pleasure. It will be noted that our crackpot version of this Prelude moves along about twice as quickly as Madame Landowska's, and it is about twice as amusing too. Indeed it is our view that all Bach's works in this style were written with a comic intention to-day regrettably seldom permitted to protude in performance. We are not exactly besides ourselves with mirth, because it is after all German humour, but works of this kind could we think be rendered with much more of the slap-stick even than is customarily the case. Here it is difficult to believe that Madame L. is attempting the same piece! An interesting rendition Mr Grew - and certainly a more convincing tempo than that provided by Wanda. But just one thing about it... I am reminded of an old school friend who was never able to enjoy - or even listen to - the music of J. S. Bach. When I once asked him why this might be, he replied: "Because it always makes me feel as though somebody is continuously banging me on the head with a teaspoon". I wonder whether this might be the kind of thing he had in mind? Baz |
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Baz
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« Reply #170 on: 14:10:01, 19-05-2008 » |
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Moved to glossary thread...
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Baz
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« Reply #171 on: 18:05:37, 19-05-2008 » |
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...glossary thread.
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Sydney Grew
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« Reply #172 on: 10:32:10, 20-05-2008 » |
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[...] some tonal confusion at the cadence! Here is another rather rum rendition of the D sharp minor Fugue in four parts from Book II. Mr. Baziron again demonstrated his remarkable aural acuity in the case of Wanda's yesterday - alas fifty years too late for the poor lady to correct her errors; we wonder whether there are any mistakes here! And we would also be interested to know how the bizarre Mr. B. manages to navigate this remote key in his peculiar stumbling way. . . . ( rapidshare and sendspace) It is a serious work, full of unexpected chromatic progressions. Our favourite comes on the final beat of bar twenty-seven; it is in a style similar to that of Schoenberg's middle period. Tovey gets quite worked up about the whole thing; he likens it to an "Æschylean chorus," and uses in its regard the expressions "weighty," "massive," and "really big." |
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Baz
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« Reply #173 on: 12:45:29, 20-05-2008 » |
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« Reply #174 on: 12:59:29, 20-05-2008 » |
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I see you have been practising again Baz  A  |
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Well, there you are.
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Sydney Grew
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« Reply #175 on: 13:03:58, 20-05-2008 » |
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Yes quite . . . sorry we did not make it clear that the B was for Berben and we hope the Member is not offended by mistake . . . We noticed to-day in fact that that same Mr. B. has put out the following record: "Hassler ~ Ich Gieng Einmal Spatieren, Léon Berben "This CD presents six of the extant keyboard compositions by Jacob Hassler (1569-1622) as well as the Variations on 'Ich gieng einmal spatieren' by Hans Leo Hassler (1564-1612), a remarkable piece which comes close to Bach's Goldberg Variations in substance and diversity.Although harpsichordist Léon Berben's Ramée disc Ich Gieng Einmal Spatieren is credited to the composer "Hassler," it consists of work by two composers by that name, a long keyboard piece by the expected Hans Leo Hassler and all but one of the surviving keyboard pieces by his youngest brother, Jakob Hassler. These are played by Berben on a remarkable period instrument, a Franciscus Patavinus harpsichord built in 1561 and located in the Deutsches Museum in Munich. This keyboard provides just the right shade and color to the music of Jakob Hassler, a Prague-based musician beloved of eccentric Holy Roman Emperor Rudolf II whose work culls together the influences of Venice and Germany while retaining some vestige of his own Franco-Flemish heritage. Hans Leo Hassler's set of 31 variations on the tune "Ich gieng einmal spatieren" (I'm Going Walking Again) is one of the most extensive such works to be found before the time of J.S. Bach's Goldberg Variations, and at 42 and a half minutes it's." The "blurb" with its curious punctuation and sudden breaking off mid-sentence is reproduced (i.e. pasted) in faithful if painful exactitude from the original. We wondered whether any Members know these 31 variations of Hassler which are said to rival Bach? (By the way the title as quoted is past tense: "I once went walking" is not it?) |
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« Last Edit: 13:17:26, 20-05-2008 by Sydney Grew »
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Baz
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« Reply #176 on: 13:21:54, 20-05-2008 » |
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I see you have been practising again Baz A I do hope you will not be giving away all my secrets! |
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« Reply #177 on: 13:36:40, 20-05-2008 » |
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I do hope you will not be giving away all my secrets!
Erm... where to start Baz....? A |
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Well, there you are.
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Baz
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« Reply #178 on: 13:47:03, 20-05-2008 » |
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Yes quite . . . sorry we did not make it clear that the B was for Berben and we hope the Member is not offended by mistake . . .
No problem Mr Grew, except that the said "Mr B" seems, from bar 9 onwards (when the texture reaches 4 voices), to provide so many unforced errors of pitch that counting them would become an academic exercise of no value. Still, judge for yourself... CLICKBaz |
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Baz
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« Reply #179 on: 13:57:08, 20-05-2008 » |
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I do hope you will not be giving away all my secrets!
Erm... where to start Baz....? A Oh...just go back to bed! I'll let you know when it's Tea Time. |
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