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harmonyharmony
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« Reply #3990 on: 21:42:36, 02-11-2008 » |
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Hang on... I've heard this bit before surely... Is it just going round and round and round?
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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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oliver sudden
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« Reply #3992 on: 21:46:54, 02-11-2008 » |
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Hang on... I've heard this bit before surely... Is it just going round and round and round?
Dum transissets do that a bit don't they? |
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harmonyharmony
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« Reply #3994 on: 22:14:20, 02-11-2008 » |
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Hang on... I've heard this bit before surely... Is it just going round and round and round?
Dum transissets do that a bit don't they? It's certainly a lot slower than I had my little choir take it, which rather detracts (IMHO) from the linear qualities of it and makes it all a bit monumental and lovely. I like SH's new avatar btw. What is? |
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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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SH
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« Reply #3995 on: 22:23:22, 02-11-2008 » |
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It's fascinating music. Rather austere (much less fantastic than Couperin or Rameau), & without the theatrical melancholy of Froberger. Farr has some very impressive recordings for Naxos, of some very interesting things. For what it's worth I found her Byrd CDs more interesting than Moroney's rather survey like recording. http://www.naxos.com/artistinfo/Elizabeth_Farr/10539.htmShe plays instruments by Keith Hill & works closely with him. http://www.keithhillharpsichords.com/ |
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SH
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« Reply #3996 on: 22:25:35, 02-11-2008 » |
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hh It's a woodcut of Villon.  |
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richard barrett
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« Reply #3997 on: 22:41:53, 02-11-2008 » |
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It's fascinating music. Rather austere (much less fantastic than Couperin or Rameau), & without the theatrical melancholy of Froberger.
Farr has some very impressive recordings for Naxos, of some very interesting things. For what it's worth I found her Byrd CDs more interesting than Moroney's rather survey like recording.
Also good to know. I agree, d'Anglebert is fascinating. I used to have a recording of his suites by Kenneth Gilbert, in fact I thought I still had it but a glance at the shelves reveals that it must have gone in one of the painful money-raising culls of my CD collection I used to do every now and again. |
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Robert Dahm
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« Reply #3998 on: 00:37:47, 03-11-2008 » |
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 For me not quite as happening as vol VII but still pretty happening. This is a bit off-topic, but: I have various recordings of various sonatas, and am more-or-less familiar with all of them (more familiar with some...) but haven't got around to getting a Complete Sonatas-type set. Does anybody happen to have a recommendation for a 'good all-rounder' sort of thing that can provide a decent basis from which to build a collection of this repertoire? Now spinning here:  Pretty remarkable. |
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Turfan Fragment
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« Reply #3999 on: 03:45:35, 03-11-2008 » |
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I have various recordings of various sonatas, and am more-or-less familiar with all of them (more familiar with some...) but haven't got around to getting a Complete Sonatas-type set. Does anybody happen to have a recommendation for a 'good all-rounder' sort of thing that can provide a decent basis from which to build a collection of this repertoire?
Some may disagree with me, but I am very fond of Brendel's complete set which looks like this:  But I wonder if people have heard this and would prefer it:  |
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Don Basilio
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« Reply #4000 on: 10:23:12, 03-11-2008 » |
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Any comments on La clemenza di Tito, Robert? It's the mature Mozart opera I hardly know and I keep thinking I must get to know it better. Does Jacobs have a USP?
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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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SH
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« Reply #4001 on: 11:42:59, 03-11-2008 » |
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it must have gone in one of the painful money-raising culls of my CD collection I used to do every now and again.Yes, I know all about that  I did the same with a lot of books, and some of them I'd love to have now. Books that sometimes go second-hand for prices way beyond anything I could afford. The OUP edition of Harrington's translation of Ariosto and the OUP Sylvester's Du Bartas, both bought upstairs in Dillons in the Academic Book Sale in 1981. And now gone. Irretrievably. And various Scolar Press facsimiles. All painful to remember. Sigh.
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time_is_now
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« Reply #4002 on: 16:37:30, 03-11-2008 » |
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NS: Horatiu Radulescu - Return to the Source of Light - Piano Sonata no.6  I don't think I'm going to last 17 minutes with this. That's not the one I heard an ex-member play at Kings College London a few years back, is it? I think that might have been No 5 actually: it had an extremely persistent rhythmic ostinato in 5/8 (dotted crotchet--crotchet on a single note) which, coupled with the pianist's characteristically gentle approach to striking the note in question, led me to dub it 'Telefono ostinato'. |
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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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richard barrett
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« Reply #4003 on: 18:17:54, 03-11-2008 » |
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That's not the one I heard an ex-member play at Kings College London a few years back, is it? I think that might have been No 5 actually: it had an extremely persistent rhythmic ostinato in 5/8 (dotted crotchet--crotchet on a single note) which, coupled with the pianist's characteristically gentle approach to striking the note in question, led me to dub it 'Telefono ostinato'.
It sounds indeed like the same one, especially since it was played by the same pianist (it's on the CD of premieres from the 2007 Transit festival what I just had given to me at the 2008 edition). Not my ceaşcă de ceai at all. The piece, I mean.  |
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time_is_now
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« Reply #4004 on: 19:03:29, 03-11-2008 » |
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If it was a premiere in 2007 it can't be the same one (though it may indeed sound like the same one). The concert I heard was in 2003 or therearounds.
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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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