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Don Basilio
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« on: 21:55:11, 22-08-2008 » |
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We had this on as background during supper. I suddenly felt I could get into Mahler. That came to an end and then I was entranced to hear a commentator without the gushy character of T Service, early Petroc, etc. My knowledgeable companion assured me it was Andrew MacGregor. What a relief.
Anyone in the RAH?
We then had a musical tour of Cologne (sic - can't do umlauts) which we visited last December. I asked for the the Stockhausen to be left on, and I can imagine I might begin to appreciate it sometime.
Any advice on the best place to start with him?
I then left the kitchen, as it was recommended that I should not be around as Sancho dressed tongue for the first time.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Notoriously Bombastic
Posts: 181
Never smile at the brass
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« Reply #1 on: 22:37:50, 22-08-2008 » |
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Anyone in the RAH?
Afraid not. I had intended to go, but work is a bit too much at the moment We then had a musical tour of Cologne (sic - can't do umlauts) which we visited last December. I asked for the the Stockhausen to be left on, and I can imagine I might begin to appreciate it sometime.
Diversion - learn some alt-key sequences DB. For instance alt-0252 gives a ü (useful for Flügelhorn...) With a bit of practice it's relatively easy to home in on the right symbol. Anyway... of the (long) gig tonight, the Stockhausen was what I would have been most interested in, even if was just to find out what Searle was sending up in the Hoffnung concerts! NB |
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Ruth Elleson
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« Reply #2 on: 22:53:16, 22-08-2008 » |
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Anyone in the RAH? Not I. Like NB, work got in the way. I had a report which had to be finished before I could leave the office this evening, and I was beavering away till nearly 6:30. I believe Eru, the Underdowns and the DoverHyphenSoles have all been at the live concert. |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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IgnorantRockFan
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« Reply #3 on: 23:12:02, 22-08-2008 » |
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I enjoyed the Mahler, it had a very big and chaotic sound, like a good rock gig  But to be honest, I should probably have turned the radio off when that piece finished  |
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Allegro, ma non tanto
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Philidor
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« Reply #4 on: 00:15:21, 23-08-2008 » |
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Don Basilio
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« Reply #5 on: 14:36:39, 23-08-2008 » |
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Diversion - learn some alt-key sequences DB. For instance alt-0252 gives a ü (useful for Flügelhorn...) With a bit of practice it's relatively easy to home in on the right symbol.
I have a laptop without numeric keypad, and I understand that it doesn't work in that case. Thanks for the advice anyway, NB. |
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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richard barrett
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« Reply #6 on: 17:53:53, 23-08-2008 » |
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I've just had a listen to the Stockhausen and it sounded to me even more like Debussy than it usually does. More coherent overall than I remember it too - I think in the past I've been concentrating too much on the momentary details to take enough notice of what they add up to. I'm still a little foxed by the ending though, no idea why it stops when it does, I don't mean "why" in the sense of being able to describe it in words of course, it ends abruptly but at the same time seemingly inconsequentially. More listening to do. I'm sorry I missed the concert.
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richard barrett
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« Reply #7 on: 00:00:20, 24-08-2008 » |
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The problem is that the last "event" in the piece sounds like it's leading to something (an "extended upbeat" or whatever) which then doesn't happen. I like the whole piece more every time I hear it though.
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Eruanto
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« Reply #8 on: 13:42:53, 24-08-2008 » |
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Yes, I was there.
It was mentioned in the talk that the orchestra had a remarkable clarity of sound to it, and that, upon hearing the rehearsal, some of Andrew McGregor's chums said that they had never heard a sound like that for Mahler in the RAH.
That was certainly true, but that came at the expense of any of the größter Vehemenz of the second movement (or anywhere else). There were some hair-raising bits, the D major bit in the 2nd movement particularly, but it was rather unspectacular otherwise. However, one person directly behind me loved it.
The main delight I took from the Stockhausen was seeing the instruments laid out differently.
The Schubert was nice enough, but why try and mend an unbroken thing?
Does anyone know who arranged the potted-Parsifal encore? - the Proms encore page doesn't seem to have been updated yet.
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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richard barrett
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« Reply #9 on: 16:34:23, 29-08-2008 » |
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I should point out that the listen to Punkte I mentioned previously was courtesy of the WDR/Eötvös recording which is very fine. Today I happened by chance to tune into the Prom in question, somewhere near the end of the second movement of Mahler 5. That was a pretty good performance I would have to say. I didn't feel at all that it was unspectacular (of course, that depends on how spectacular you think it needs to be, and I'm not too keen on the orchestral-showcase way of doing Mahler). The Scherzo was beautifully clear and flexible, the Adagietto sounded,as it should, like a "song without words" rather than the soundtrack to a bloke falling over on the beach and taking too long over it, and the Finale did its drawing-together-and-letting-go thing very well. The woodwind players in particular sounded like they were giving it all they had. The string section sounded smaller than is usual for Mahler these days (is that true, Eru?) but that may have been the result of mike placement.
I wasn't able to hear all of Punkte, but the first few minutes were entrancing and seemed to me more precise than Eötvös. It sounded like the harps were placed in front of the orchestra as the score suggests.
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Eruanto
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« Reply #10 on: 00:01:44, 30-08-2008 » |
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A common feature of this year's Proms seems to be how different it is between merely hearing a Prom and being there, watching the players and how they perform, posture, activity etc. The string section sounded smaller than is usual for Mahler these days (is that true, Eru?) but that may have been the result of mike placement. I can't remember it being particularly small, but the sound was never weighty enough, I felt. It sounded like the harps were placed in front of the orchestra as the score suggests.
Yes, there was one harp on each side of the podium. |
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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