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The Radio 3 Boards > The Music Boards > Music Through The Ages > At Least Ninety-Six Crackpot Interpretations
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Author Topic: At Least Ninety-Six Crackpot Interpretations  (Read 11251 times)
Turfan Fragment
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Formerly known as Chafing Dish
« Reply #180 on: 18:46:35, 20-05-2008 »
Since we said 'at least' ninety-six, here is something decidedly not from the Well-Tempered Clavier.

http://www.youtube.com/watch?v=C4Y2zeMJThs

Now we're up to 'at least' ninety-eight.
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Baz
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« Reply #181 on: 19:25:17, 20-05-2008 »
Quote from: Turfan Fragment on 18:46:35, 20-05-2008
Since we said 'at least' ninety-six, here is something decidedly not from the Well-Tempered Clavier.

http://www.youtube.com/watch?v=C4Y2zeMJThs

Now we're up to 'at least' ninety-eight.
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Turfan Fragment
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Formerly known as Chafing Dish
« Reply #182 on: 19:39:00, 20-05-2008 »
Quote from: Baz on 19:25:17, 20-05-2008

Not sure your ape can deliver as lucid a performance of the 22nd Prelude and Fugue from Book II as this one:

http://youtube.com/watch?v=1SKNl_Gk_xY

B-flat minor. Not sure if this is the right 'place' in Syd's inscrutable key scheme.
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Baz
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« Reply #183 on: 20:01:31, 20-05-2008 »
Quote from: Turfan Fragment on 19:39:00, 20-05-2008
Quote from: Baz on 19:25:17, 20-05-2008

Not sure your ape can deliver as lucid a performance of the 22nd Prelude and Fugue from Book II as this one:

http://youtube.com/watch?v=1SKNl_Gk_xY

B-flat minor. Not sure if this is the right 'place' in Syd's inscrutable key scheme.

Well TF - that was pretty impressive, and extremely effective playing. One of the best performances I've heard in fact!

Baz
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martle
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« Reply #184 on: 23:11:42, 20-05-2008 »
Who the hell is that guy??
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Green. Always green.
Turfan Fragment
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Formerly known as Chafing Dish
« Reply #185 on: 23:58:43, 20-05-2008 »
I dunno. Richard Barrett found him. This is how reputations are made? (forgoing typical concert dress seems also to be useful)

I love that B-flat minor fugue, by the way. Nobody needs to add any crackpottery to it. Canons at the ninth using loads of diminished intervals always result in bizarre stuff, don't they?
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Notoriously Bombastic
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Never smile at the brass
« Reply #186 on: 00:39:29, 21-05-2008 »
Since the errudition of members Grew and Iron has already been interupted, I may as well suggest listening to the Short-Tempered Clavier:

http://www.concordmusicgroup.com/albums/80390/
http://www.amazon.com/P-D-Q-Bach-pseudonym-Peter-Schickele/dp/B000003D0T

My faviourite is the fugure in Eb, where 'Twinkle twinkle little star' is combined with two melodies from Brahms.  Although the F, where Till, the Water Music, and the Royal Theme intrude on 'You are my Sunshine', is a close second.

NB
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Sydney Grew
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« Reply #187 on: 08:42:49, 21-05-2008 »
Quote from: Turfan Fragment on 19:39:00, 20-05-2008
[...] as lucid a performance of the 22nd Prelude and Fugue from Book II as this one: http://youtube.com/watch?v=1SKNl_Gk_xY

We like the way he perches on the very edge of his chair, and his evident pride in the size of his biceps, and (as does Mr. Iron) his Bach fugue - which is well-phrased but slightly too speedy. We also like his Lutoslavsky. On the other hand he should be warned that the "jazz" will in the long run be very detrimental to his career; look what happened to poor Yehudi for example after he got involved with that Grappelli creature after 1973! The population of Japan is about one hundred and thirty million souls of course.

As for Mr. Berben's familiar fumblings and stumblings, it is all much as we expected - simply a case of over-confident sight-reading is not it? These failures of the executant are all the more argument for computerised performances as the way of the future.

We have so far heard crackpot renderings of Bach in C, Bach in F, Bach in B flat, and Bach in D sharp-cum-E flat. Before modulating on to Bach in G sharp-cum-A flat, we present to-day as interlude a further Chopin oddity: the Study opus twenty-five number nine (rapidshare or sendspace). We have heard many pianists playing it fast and indistinctly; here though it is both rapid and clear.
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Baz
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« Reply #188 on: 09:28:31, 21-05-2008 »
Just one or two quick points here I think (for the moment)...

Quote from: Sydney Grew on 08:42:49, 21-05-2008

We like the way he perches on the very edge of his chair, and his evident pride in the size of his biceps, and (as does Mr. Iron) his Bach fugue - which is well-phrased but slightly too speedy. We also like his Lutoslavsky. On the other hand he should be warned that the "jazz" will in the long run be very detrimental to his career; look what happened to poor Yehudi for example after he got involved with that Grappelli creature after 1973! The population of Japan is about one hundred and thirty million souls of course.

I did not think the fugue too quick - 3/2 is supposed to be basically a 'quick' tempo (otherwise the same music could be notated in the normal 3/4). One of the unfortunate legacies of the later-19th and early-20th centuries was completely to misunderstand the meaning of earlier Proportional Notation, and to make the opposite (incorrect!) assumption that the notation in minims and crotchets (as opposed to crotchets and quavers) "must somehow" mean that the tempo is slower. Fortunately we have mostly moved forward from this basic misconception, and can now hear much of this music in the way its composer probably intended.

Yehudi's reputation did not suffer because of the Jazz - it suffered because when playing with Grappelli it became clear that he was being completely outclassed both musically and technically. Mr Grew is correct, of course, in seeing his mistake in trying to be the equal of his duettist, but it was not the Jazz in itself that injured him.

Quote
As for Mr. Berben's familiar fumblings and stumblings, it is all much as we expected - simply a case of over-confident sight-reading is not it? These failures of the executant are all the more argument for computerised performances as the way of the future.

Computerised performances will never - and should never - replace live performances. Where failings in an executant are evident, it is these that need attention and improvement. Sweeping them under the carpet and retreating into a world of only virtual reality does not address them.

Baz
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oliver sudden
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« Reply #189 on: 09:37:22, 21-05-2008 »
Quote from: Sydney Grew on 08:42:49, 21-05-2008
all the more argument for computerised performances as the way of the future.

Here we hear if we are not mistaken the unmistakable clink of a chain being yanked.
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Baz
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« Reply #190 on: 16:29:27, 21-05-2008 »
Quote from: Sydney Grew on 08:42:49, 21-05-2008

We have so far heard crackpot renderings of Bach in C, Bach in F, Bach in B flat, and Bach in D sharp-cum-E flat. Before modulating on to Bach in G sharp-cum-A flat, we present to-day as interlude a further Chopin oddity: the Study opus twenty-five number nine (rapidshare or sendspace). We have heard many pianists playing it fast and indistinctly; here though it is both rapid and clear.


Well it was fast and distinct, but just one thing: it did not sound very much like a pianoforte! Does this matter at all Mr Grew?

Baz
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Sydney Grew
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« Reply #191 on: 18:36:35, 21-05-2008 »
Quote from: Baz on 16:29:27, 21-05-2008
Well it was fast and distinct, but just one thing: it did not sound very much like a pianoforte! Does this matter at all Mr Grew?

We would say . . . no! The pianoforte is not the goal but a mere . . . what is the word . . . instrument.
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Sydney Grew
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« Reply #192 on: 10:18:26, 22-05-2008 »
To-day we offer members a crackpot version of Bach's Prelude in A flat major from Book I, played here by two kazoos and brass band (rapidshare and sendspace).
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Sydney Grew
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« Reply #193 on: 09:06:09, 23-05-2008 »
To-day's crackpot contribution (rapidshare or sendspace) is Bach's A flat major Fugue from Book I. What wonderfully relaxed music it is! One's sensation is of free-wheeling down hill on a bicycle after a long day of healthy peripateticism in the mountains.
« Last Edit: 02:49:22, 24-05-2008 by Sydney Grew » Logged
Sydney Grew
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« Reply #194 on: 12:08:19, 24-05-2008 »
Here is Bach's G sharp minor Prelude from Book I, to-day in a crackpot version (rapidshare or sendspace) but again a very relaxed and beautiful thing. It is written in three parts, with the principal exception of the final cadence where a fourth enters, somewhat along the lines of the solemnest moments of Beethoven's Missa.
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