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harmonyharmony
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« Reply #3000 on: 18:34:22, 23-06-2008 » |
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Strauss: Also sprach ZarathustraI love this piece.  LSO conducted by Jacek Kaspszyk |
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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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John W
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« Reply #3001 on: 21:21:23, 23-06-2008 » |
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Mendelssohn: Piano Concerto No 1 in G minor, Op.25 Rudolf Firkusny, piano. Orch. Radio Luxembourg cond. Louis de Fremont Enjoying this work, not familiar with it at all (I do have another recording by Peter Katin). Says in the notes that the work contains passages of improvisation, which Mendelssohn enjoyed. Does it mean that the passages of improvisation are written in the work and the performer is expected to play Mendelssohn's improvisations?  |
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harmonyharmony
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« Reply #3002 on: 22:17:05, 23-06-2008 » |
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Bartók's string quartets (4, 3, and 6) played by the Julliard Quartet.
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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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time_is_now
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« Reply #3003 on: 02:00:26, 24-06-2008 » |
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Not sure if there's a better thread for it, but I received this courtesy of one of the designers I work with: http://www.sun-sentinel.com/sfl-worst-album-ugc,0,351729.ugcphotogallery?track=banner-worstalbums-728 |
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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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Turfan Fragment
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« Reply #3004 on: 06:28:19, 24-06-2008 » |
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 Jean Baptiste Gouffet : trois lecons de tenebres (sorry bout the lacking cedille) Very lovely on a late night workjaunt. |
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brassbandmaestro
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« Reply #3005 on: 11:37:57, 24-06-2008 » |
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Having a sequence from the EMI Collection of VW & Elgar.
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Elgar Sea Pictures(Janet Baker, LSO, Barbirolli)
Cello Concerto(Jacqueline du Pre, LSO, Barbirolli)
VW Serenade to Music Partita for double st o; Sinfonia Antartica(RLPO & Choir, Alison Hargan, sop., Ian Tracey, organ, Vernon Handley.
Elgar Violin Sonata in Eminor, op.82(Hugh Bean ,violin, David Parkhouse, piano); Violin Concerto in B minor, Op61(Hugh Bean, violin, RLPO, Sir Charles Groves).
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Ron Dough
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« Reply #3006 on: 18:44:36, 24-06-2008 » |
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Now spinning chez Dough: A decidedly promising début, it seems to me.... |
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...trj...
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« Reply #3007 on: 22:29:42, 24-06-2008 » |
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Now spinning:  Alexei Lubimov: Post-avant-garde Piano Music from the ex-Soviet Union. No idea why I got this, the title hardly sounds like my kind of thing at all ...  Anyway, it's jolly good. It's full of quotations/reworkings/paraphrases/allusions/memories. I wonder if Autoharp knows it? Emotionally it's very deceptive - leads you up certain well-trodden paths only to turn them to quicksand. I think if I was drunk in the middle of a winter's night it would be quite shattering actually. |
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harmonyharmony
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« Reply #3008 on: 23:14:55, 24-06-2008 » |
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Britten: Noye's Floode
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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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martle
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« Reply #3009 on: 08:59:12, 25-06-2008 » |
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Now spinning chez Dough: A decidedly promising début, it seems to me.... Now, THAT's what I call a cover, Ron!  |
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Green. Always green.
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perfect wagnerite
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« Reply #3010 on: 10:27:42, 25-06-2008 » |
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On the pod on the train this morning:
Beatrice et Benedict - the Colin Davis/LSO live performance
I find it quite moving to think of the ageing Berlioz, ill and disillusioned by the failure of Les Troyens, producing a work of such delicacy, tenderness and sheer verve.
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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autoharp
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« Reply #3011 on: 11:18:22, 25-06-2008 » |
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Now spinning: Alexei Lubimov: Post-avant-garde Piano Music from the ex-Soviet Union. No idea why I got this, the title hardly sounds like my kind of thing at all ... Anyway, it's jolly good. It's full of quotations/reworkings/paraphrases/allusions/memories. I wonder if Autoharp knows it? Emotionally it's very deceptive - leads you up certain well-trodden paths only to turn them to quicksand. I think if I was drunk in the middle of a winter's night it would be quite shattering actually. Thanks for the tip, Tim. I don't know this particular Lubimov recording, but I do know some of the pieces in performances by others, particularly those by Alexandre Rabinovitch, many of whose pieces sound like systematised Rachmaninov (although Musique triste, parfois tragique is based on a Schubert Moment musical). Also the Latvian Georgs Pelecis, the opening dots of whose New year music can be found at http://www.newconsonantmusic.com/composers/pelecis_georgs.php |
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...trj...
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« Reply #3012 on: 11:23:26, 25-06-2008 » |
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Systematised in a good way, I think - although maybe lots of it might get tiring. Anyway, thanks for the Pelecis link, I shall investigate more.
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Ian Pace
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« Reply #3014 on: 11:48:58, 25-06-2008 » |
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I know Lubimov primarily through his period instrument recordings of Beethoven et al (though it's ages since I listened to them) - he struck me as something of the 'anti-HIPster's HIPster', that is, one who makes a few token gestures in the direction of period performance (such as, most obviously, using period instruments) but otherwise mostly reiterates as far as possible that very narrow range of performance attributes encompassed in the particular late romantic style that still remains the norm for performances of most repertoire (arguably more so today than in earlier decades), and is taught in the majority of conservatories, rather than engaging with the wide range of performance practice research that can offer different possibilities not just in terms of style but also conception. I've heard a bit of Rabinovitch a while ago, and Pärt of course; from what I recall, Rabinovitch seemed like he wanted to basically compose in a neo-romantic style, but then felt the need to do a few stranger things (paring down the music, using greater amounts of repetition, etc.) in order to qualify better as some type of modern. But I haven't heard much - might the pieces on this disc suggest otherwise, do you think, trj? And in terms of leading one up 'well-trodden paths only to turn them to quicksand', I suppose I think of how, in different ways. Kagel, Schnebel, the earlier Holliger, Sciarrino, Finnissy - and, of course, Stravinsky - have attempted something akin to this - how might the pieces of Rabinovitch, or any of the other composers on the disc, relate to this type of context?
[EDIT - Hadn't noticed autoharp's link before, just clicking to listen to some of that stuff now]
[EDIT 2 - Listened to those short snippets now, really unimpressed, sounds like awful derivative neo-romantic kitsch - but it's not fair to judge any music on the basis of soundbites, is there more to it if one listens to the whole pieces?]
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« Last Edit: 12:01:24, 25-06-2008 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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