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Ian Pace
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« Reply #1080 on: 16:48:52, 29-08-2007 » |
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Ian, in your version, does it play the last chord of Valse II twice? That was probably a punching error.
I'm amazed by that performance, it's beautiful.
Yes he does! Almost certainly was some such error. I imagine the movements were done separately, so the timing between them (which is very important) may get lost. What do you think of the Sonatine recording (assuming you have the same disc)? In the first few bars, instead of being somewhat aloof, poised, restrained, in the way that many are, he really goes for it impulsively and pushes the tempo ahead - totally changes the nature of the music. I sort of imagine that if someone played it that way today, many critics would say they have no sensitivity or feel for the idiom.  (wonder if roslynmuse has any thoughts on these recordings, also?) |
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« Last Edit: 16:52:30, 29-08-2007 by Ian Pace »
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'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'
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Tony Watson
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« Reply #1081 on: 17:54:04, 29-08-2007 » |
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Beethoven’s Bagatelles, op 119
I can’t listen to the seventh one without thinking of "Drip, drip, drop little April shower" from Walt Disney’s Bambi.
And if any of you think that Britten’s Simple Symphony sounds like the theme tune to the Archers, you haven’t tried a Sonatine in G by one Daniel Steibelt (1765-1832). The first seven notes are exactly the same. (My book of sonatinas says that he was a "pedagogue in the manner of his day". Interesting.)
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time_is_now
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« Reply #1082 on: 18:13:52, 29-08-2007 » |
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And if any of you think that Britten’s Simple Symphony sounds like the theme tune to the Archers, you haven’t tried a Sonatine in G by one Daniel Steibelt (1765-1832). The first seven notes are exactly the same. Tony, if you think that's close you should try the 'Barwick Green' movement from Arthur Wood's suite My Native Heath (composed in 1924)! |
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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
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ahinton
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« Reply #1083 on: 18:20:12, 29-08-2007 » |
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And if any of you think that Britten’s Simple Symphony sounds like the theme tune to the Archers, you haven’t tried a Sonatine in G by one Daniel Steibelt (1765-1832). The first seven notes are exactly the same. Tony, if you think that's close you should try the 'Barwick Green' movement from Arthur Wood's suite My Native Heath (composed in 1924)! Very funny indeed, time-is-now-spinning!... Best, Alistair |
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tonybob
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« Reply #1084 on: 18:32:01, 29-08-2007 » |
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sean udal, for hampshire.
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sososo s & i.
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Ian Pace
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« Reply #1085 on: 11:49:08, 30-08-2007 » |
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One of my favourite jazz albums of all time:  Anyone else particularly like it? |
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'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'
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autoharp
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« Reply #1086 on: 12:20:41, 30-08-2007 » |
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Absolutely ! Monk's one of the greats. Interesting (strange ? Probably not) how many "classical" pianists revere him.
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Ian Pace
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« Reply #1087 on: 12:25:13, 30-08-2007 » |
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Absolutely ! Monk's one of the greats. Interesting (strange ? Probably not) how many "classical" pianists revere him.
Actually, I had often found the opposite (but that may just reflect an unrepresentative sample of opinion) - Monk being one of the hardest jazz players for classical pianists to appreciate, on account of his idiosyncratic (to say the least) technique, splashiness and pointed, often harsh, sound. As distinct from Waller or Tatum or Garner or Peterson or Brubeck or whoever, all of whose simple pianistic skills it's much easier for classical players to understand and admire. But your experience has been different? |
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'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'
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Chafing Dish
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« Reply #1088 on: 16:34:27, 30-08-2007 » |
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Inspired by the mention of Straight no Chaser, I am now spinning this one:  Not sure if Archieeee ever played with Monk, but I always thought they had an affinity musically speaking. I like the word "splashiness" in this context. |
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autoharp
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« Reply #1089 on: 19:27:49, 30-08-2007 » |
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Absolutely ! Monk's one of the greats. Interesting (strange ? Probably not) how many "classical" pianists revere him.
Actually, I had often found the opposite (but that may just reflect an unrepresentative sample of opinion) - Monk being one of the hardest jazz players for classical pianists to appreciate, on account of his idiosyncratic (to say the least) technique, splashiness and pointed, often harsh, sound. As distinct from Waller or Tatum or Garner or Peterson or Brubeck or whoever, all of whose simple pianistic skills it's much easier for classical players to understand and admire. But your experience has been different? Well, I haven't conducted any surveys recently - opportunity for a poll, perhaps ! Monk's playing is unique for the very reasons you mention and is difficult, if not impossible, for others to imitate, whatever their musical background. Despite that it's always identifiable (imagines descending whole-tone run with one note scuffed). Tatum and Peterson have staggering techniques of course. I've always had a problem with Brubeck . . . |
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Martin
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« Reply #1090 on: 20:47:46, 30-08-2007 » |
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Recently, and soon to be re- spun:
Cantatas by John Clerk of Penicuik, musician, architect, numerologist, and signatory to the Act of Union 1707. Concerto Caledonia, Bott, Hyperion.
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oliver sudden
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« Reply #1091 on: 20:56:28, 30-08-2007 » |
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Mahler 2, Berlin Phil, Barbirolli on Testament. Soloists Janet Baker and Maria Stader. Excuse me while I die to rise again. |
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Bryn
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« Reply #1092 on: 21:14:07, 30-08-2007 » |
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Yeh, not bad, is it? |
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tonybob
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« Reply #1093 on: 21:37:45, 30-08-2007 » |
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franck symphony, rco/mengelberg.
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sososo s & i.
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richard barrett
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« Reply #1094 on: 22:25:22, 30-08-2007 » |
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 I can't afford to buy CDs at the moment but at least I have Harnoncourt's Hornsignal already. In the last couple of days I've mostly been listening to the Music Masters recordings of Stravinsky conducted by Craft. The Agon is especially wonderful, as are the Rite, Orpheus and Apollo and in fact most of the orchestral music except the Symphony in Three Movements, though that's never been a favourite of mine anyway. The vocal pieces don't come over so well, and Oedipus Rex is seriously marred by having the narration done by Paul Newman, obviously not in the same acoustic as the other performers but in a completely ambience-free broadcast studio which some might say enhances the "alienation" we were talking about on the other thread but is far too disturbing to the continuity for my liking. Now, however, I'm listening to "Sortilèges de la Musique Roumaine", featuring Paul Stinga, the "Prince of the Cimbalom". I don't see the resemblance myself...   Incredible playing though.
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