|
harmonyharmony
|
 |
« Reply #1050 on: 16:42:43, 26-08-2007 » |
|
Disc 2 of 1996's Donaueschinger Musiktage documentation.
Currently spinning Marc André's Un-Fini
I'm sorting out scores at the moment (not my own just the great big pile of piano, clarinet, choral and random scores that's accumulated in my front room).
|
|
|
|
|
Logged
|
'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
|
|
|
TimR-J
Guest
|
|
« Reply #1051 on: 17:15:14, 26-08-2007 » |
|
Messiaen Quatuor (Pasquier, Vacellier, Pasquier, Messiaen, 1956) - very thought-provoking, not least in that the tempi are often quite different from what's in the score even though you'd think the pianist would have a pretty good handle on how it went; for that matter the cellist is from the 'original cast' too.
I've had the record since the early 70s. Not a version I've ever liked. I felt that the pianist had a lot to answer for - he seemed strangely unable to play in time in places. I have exactly the same problem with his own recordings of his organ music. The metronomic background against which all the surface rhythms work seems essential to M's music, but he would disagree with me... |
|
|
|
« Last Edit: 17:17:42, 26-08-2007 by TimR-J »
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #1052 on: 18:05:07, 26-08-2007 » |
|
Messiaen Quatuor (Pasquier, Vacellier, Pasquier, Messiaen, 1956) - very thought-provoking, not least in that the tempi are often quite different from what's in the score even though you'd think the pianist would have a pretty good handle on how it went; for that matter the cellist is from the 'original cast' too.
I've had the record since the early 70s. Not a version I've ever liked. I felt that the pianist had a lot to answer for - he seemed strangely unable to play in time in places. I have exactly the same problem with his own recordings of his organ music. The metronomic background against which all the surface rhythms work seems essential to M's music, but he would disagree with me... That's the tip of a very big iceberg for me: not only what a composer does in their own performances (sometimes a result of deficiencies as a performer, sometimes a result of different interpretative priorities one can usefully learn from), but what a composer asks performers to do when helping prepare a performance, and even to what extent things in the score are from the composer-as-performer, not the composer-as-composer. Huge interpretative topic especially when composers have changed their minds as the result of performer input (Bruckner, Janáček, Messiaen, Mahler and many many others)... Still, hard to argue with this:  |
|
|
|
|
Logged
|
|
|
|
|
autoharp
|
|
« Reply #1053 on: 18:44:29, 26-08-2007 » |
|
What was the thinking behind including a viola d'amore ?
|
|
|
|
|
Logged
|
|
|
|
|
Ian Pace
|
|
« Reply #1054 on: 18:45:53, 26-08-2007 » |
|
The otherwise historically-informed recording of Brahms's song cycle Die schöne Magelone op. 33, with Christophe Prégardien and Andreas Staier not only includes the whole cycle (which Brahms himself gave complete together with Julius Stockhausen, though elsewhere said he didn't think was a good idea to programme in one go) but also includes extra text from Ludwig Tieck, spoken by Vanessa Redgrave in between the songs, an option which was suggested to Brahms (as the narrative is almost impossible to follow otherwise, the gaps are so large) but which he definitely rejected. These composers really don't know what's best for them sometimes.....  |
|
|
|
|
Logged
|
'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
|
|
|
|
time_is_now
|
|
« Reply #1055 on: 19:02:43, 26-08-2007 » |
|
t_i_s: Dillon's 2nd quartet was released on Montaigne Auvidis along with Vernal Showers, one of the Traumwerke volumes and summat else I can't recall about 10 years ago (Arditti Quartet doing a rather good job all in...) So it was. I have that disc; I'd somehow blanked the Quartet's presence on it from my memory. But I was of course referring to the new recording of all four quartets (IIRC) which is currently in production chez our sheep-loving friends. Ollie/Ron: I must look into this 'Rarissimes' series (new?). Someone played me bits of a disc of very early Messiaen/Loriod performances last week, and now this Dervaux getting glowing accolades from both of you ... Bryn, was just about to follow you in ordering that Mahler 3 but can I just check first that it's the one I think it is? Because the Amazon customer review seems to say exactly the opposite of what you say, viz. that the BBC Legends one is preferable in every respect   |
|
|
|
|
Logged
|
The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
|
|
|
blue_sheep
Posts: 63
|
|
« Reply #1056 on: 20:09:18, 26-08-2007 » |
|
So it was. I have that disc; I'd somehow blanked the Quartet's presence on it from my memory. But I was of course referring to the new recording of all four quartets (IIRC) which is currently in production chez our sheep-loving friends.
Hi Tinners! Not us I'm afraid - all 4 quartets would be great, but I hadn't heard that they're being recorded. OTOH you could look out early next year for a CD of the soadie waste (piano quintet), Traumwerk Book III (violin+piano) &c... |
|
|
|
|
Logged
|
|
|
|
|
time_is_now
|
|
« Reply #1057 on: 20:21:32, 26-08-2007 » |
|
Bahh. Sorry. Not so much a case of IIRC as me having it completely wrong in the first place then.
Is this an international sheep I see before me?
|
|
|
|
|
Logged
|
The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
|
|
|
|
|
|
Bryn
|
|
« Reply #1059 on: 20:30:07, 26-08-2007 » |
|
Bryn, was just about to follow you in ordering that Mahler 3 but can I just check first that it's the one I think it is? Because the Amazon customer review seems to say exactly the opposite of what you say, viz. that the BBC Legends one is preferable in every respect Neither, from what I have read, is perfect, but I have been strongly advised that the overall conception was superior in the Berlin performance, despite the shortcomings that the one reviewer on Amazon UK draws attention to. |
|
|
|
|
Logged
|
|
|
|
|
|
|
Bryn
|
|
« Reply #1061 on: 20:44:12, 26-08-2007 » |
|
By the way, I ought to add that I have the Hallé recording, but have not listened to it for some considerable time. I might eventually report back, once I have listened to both in close temporal proximity.
|
|
|
|
|
Logged
|
|
|
|
|
Andy D
|
|
« Reply #1062 on: 21:34:17, 26-08-2007 » |
|
Just been listening to Vaughan Williams' Symphonies 7 & 8 conducted by Mr Andrew Preview with the LSO.
Heard the start of no 7 on R3 the other day which prompted me to put it on.
|
|
|
|
|
Logged
|
|
|
|
|
Il Grande Inquisitor
|
|
« Reply #1063 on: 22:51:43, 26-08-2007 » |
|
Shostakovich's Symphony No.4 in his arrangement for piano duet.
|
|
|
|
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
|
oliver sudden
|
|
« Reply #1064 on: 17:16:42, 27-08-2007 » |
|
Mahler 3, Moscow Phil / Kondrashin. Less isn't always more. Sometimes more is more.  |
|
|
|
|
Logged
|
|
|
|
|
