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aaron cassidy
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« Reply #195 on: 15:14:44, 08-03-2007 » |
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Tonight ... St. Matthew Passion ... this time Gardiner/ORR/etc. I still prefer the first Herreweghe recording, but ... this one has its charms.
Technically the group was called the English Baroque Soloists wasn't it? (Or has he done a period-instruments recording of the Mendelssohn version while I wasn't looking?...) Certainly there's plenty of Révolutionnaire et Romantique about the performance - not that there's anything wrong with that. Yes yes, sorry ... you're right. Apologies. |
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xyzzzz__
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« Reply #196 on: 23:01:49, 08-03-2007 » |
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"From Haubenstock-Ramati to Gann? What a night.
I love "Credentials." Partially because it is one of very, very few pieces in my
collection that my wife simply cannot stand."
"Credentials" is great, though I can see why it might've been annoying with those vocal acrobatics.
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harmonyharmony
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« Reply #197 on: 23:55:53, 08-03-2007 » |
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Nono: Canti di vita e d'amore
Slavka Taskova, Loren Driscoll, Sinfonieorchester des Saarländischen Rundfunks, Saarbrücken
Michael Gielen
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'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 |
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Ian Pace
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« Reply #198 on: 15:56:01, 09-03-2007 » |
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Auber - Fra Diavolo
Nicolaï Gedda, Mady Mesplé, Jane Berbié, Jules Bastin
Ensemble Choral, Jean Laforge, Orchestre Philharmonique de Monte-Carlo, Marc Soustrot
Just arrived this morning - an opera I didn't know before, other than by reputation, about an Neapolitan brigand leader, loosely based on a real-life figure. Usual type of early 19th-century plot concerning battles between social outcasts and the aristocracy. Quite heavily influenced by Rossini, but in Auber's own manner, a massive success in its own day. One has to take to French opera of the period in a big way to like it, but I do. Some really hilarious falsetto singing at places. I need to listen to it a number of times to come up with any sort of considered view. Anyone else know it, or like this type of music in general, and have any thoughts?
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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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Ron Dough
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« Reply #199 on: 23:19:18, 09-03-2007 » |
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John McCabe: Edward II(Complete Ballet) Royal Ballet Sinfonia/Wordsworth: Hyperion CDA67135/6
This arrived as part of a job-lot (surely RVW Ballets? - Ed.) from the States some months ago, and I've meant to give it a spin for weeks. Mr Grew occasionally asks why McCabe seems to be one of the forgotten, and I find this ample proof of the validity of his question: there are audible antecedents for this ballet: Britten's Prince of the Pagodas is there in the mix, and touches of Prokofiev, Stravinsky, and even the Lenny B of West Side Story, but it's a well-paced dramatic score, masterfully orchestrated and, best of all, constantly interesting.
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roslynmuse
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« Reply #200 on: 00:02:21, 11-03-2007 » |
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Re Ian's post: I don't know much Auber apart from the usual overtures, but I have a soft spot for Meyerbeer (L'etoile du nord, Le prophete, also Liszt's arrangement of Les patineurs, ditto Constant Lambert's...) and enjoy much of the equivalent from later in the century - particularly Chabrier: L'etoile, Le roi malgre lui, Briseis etc.
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MeKurwenal
Posts: 32
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« Reply #201 on: 10:23:37, 11-03-2007 » |
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Recovering from the late night / early morning Siegfried broadcast....just whose bright idea was it to air the subtle and relaxing Forging lullaby around midnight? Not exactly kind to the neighbours....
I am currently catching up with online newpapers to the wonderful
Wilhelm Peterson-Berger Symphony 3 ( Lapland )
Good Sunday to all
MK
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harmonyharmony
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« Reply #202 on: 12:55:23, 11-03-2007 » |
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Gending Bonang Babar Layar
Javanese Court Gamelan, Volume II (from the Nonesuch Voyager series)
Wonderful control of pacing and it's a cracking tune!
Maybe that's a project for next term....
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'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 |
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autoharp
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« Reply #203 on: 12:58:21, 11-03-2007 » |
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Yes, Babar Layar's a real corker - austere and monolithic (oops! - sounds like a music critic . . .)
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harmonyharmony
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« Reply #204 on: 12:58:59, 11-03-2007 » |
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Bother It's in pelog - of course it's in pelog! It's got semitones! Grrr.  head full of cotton wool today. (we've only got a slendro set, so any thought of playing this is out of the question). |
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'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 |
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Ian Pace
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« Reply #205 on: 13:10:22, 11-03-2007 » |
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Re Ian's post: I don't know much Auber apart from the usual overtures, but I have a soft spot for Meyerbeer (L'etoile du nord, Le prophete, also Liszt's arrangement of Les patineurs, ditto Constant Lambert's...) and enjoy much of the equivalent from later in the century - particularly Chabrier: L'etoile, Le roi malgre lui, Briseis etc.
Aha - I also have a soft spot for Meyerbeer. L'Africaine and Les Hugenots are the two operas I've taken to the most (never heard La Prophéte, though). Playing Liszt's transcriptions was what made be interested to investigate the operas further. Would you be able to answer me a question - do you know which of the various recordings of Il crociato in Egitto includes a libretto (with English translation)? Don't know those Chabrier operas so well, but have heard bits (little fragments from them are referenced in Finnissy's The History of Photography in Sound, actually). I think you would like Fra Diavolo if you like Meyerbeer - there's an extremely cheap recording on EMI. I've also been listening right the way through to Rossini's Guglielmo Tell (in the Milnes/Pavarotti/Freni/Chailly/National Philharmonic recording), a work little known other than the overture - fabulous music, much more refined than what some of his French counterparts were doing with the medium at the same time. Amazingly consistent quality of music throughout, stronger than any other Rossini opera I've heard. Would love to see a production. Also been listening to Halévy La Juive - has its moments, but somewhat overwrought and portentous, maybe I'll come round to it in time. |
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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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harmonyharmony
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« Reply #207 on: 13:31:56, 11-03-2007 » |
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Actually I didn't know that site existed...  Thanks for pointing it out, it has cheered me up quite a lot. |
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'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 |
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roslynmuse
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« Reply #208 on: 13:39:41, 11-03-2007 » |
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Ian; La juive - I heard part of the R3 broadcast last November and wasn't hugely taken by it, but it was a recording of a concert performance so it was perhaps a little too hygenic...
I'll check the Opera Rara recording of Il crociato - it's the only one I've heard, but I don't own it.
Talking of Halevy, do you know Ludovic? Chopin used an aria from it as the basis of the Op 12 variations. I think the opera was started by Herold and completed by Halevy.
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stuart macrae
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« Reply #209 on: 14:24:23, 11-03-2007 » |
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Bother It's in pelog - of course it's in pelog! It's got semitones! Grrr. head full of cotton wool today. (we've only got a slendro set, so any thought of playing this is out of the question). pelog! slendro!  Blimey, better go back to school! |
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