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Robert Dahm
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« Reply #4065 on: 01:14:51, 11-11-2008 » |
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What I find fascinating about Abbado is the way he's been influenced by the HIP movement.
I absolutely agree with that. Am I correct in thinking that this was the first recording (after the rather less well played Zinman cycle) to use the new Bärenreiter editions of the symphonies? My reservation, though, stems from the fact that the Berlin Phil is still the Berlin Phil, and to a certain extent if you HIP them up, you end up suppressing a big part of what makes them sound like they do. These recordings contain some revelations, for sure, but I wonder if Abbado's approach might be more interesting with a more tonally versatile (or at least tonally un-defined) band? |
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time_is_now
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« Reply #4066 on: 16:13:42, 11-11-2008 » |
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 Bought last week in an uncharacteristic fit of (probably birthday-induced) Kauflust. Some lovely things here. |
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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 #4067 on: 17:44:17, 11-11-2008 » |
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Bought last week in an uncharacteristic fit of (probably birthday-induced) Kauflust. Some lovely things here.
Nice. Volume 2 is even nicer. |
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time_is_now
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« Reply #4068 on: 17:52:05, 11-11-2008 » |
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Volume 2 is even nicer.
I'll buy it for my next birthday. In fact until I started searching for an image to post in the message above, I didn't realise any further volumes were already issued. I would probably have wondered which one to buy and ended up buying none if I'd known that when I came across MDC's 3 Hyperions for £30 offer last Thursday (or of course I could have bought all three, but that would have deprived me of Baroque music from Latin America and Muzio Clementi's piano sonatas). |
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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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Evan Johnson
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« Reply #4069 on: 18:06:14, 11-11-2008 » |
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 I.e., Chopin mazurkas by Patrick Cohen on Glossa, Erard and all. People seem to hate this recording. I don't. And people, composers especially, need to be taught in school that these pieces are really, really, really fascinating. |
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martle
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« Reply #4070 on: 18:24:24, 11-11-2008 » |
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And people, composers especially, need to be taught in school that these pieces are really, really, really fascinating.
They are, by me at any rate. And that goes for all Chopin. |
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Green. Always green.
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richard barrett
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« Reply #4071 on: 18:30:59, 11-11-2008 » |
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I like the Cohen recordings of Chopin, indeed I found Chopin quite hard to take until they came along. I think perhaps this might have to do with the fact that while many people might associate the sound of the (modern) piano closely with music like Chopin, I tend to associate it more with Stockhausen or Cecil Taylor, and so I've always had a semi-conscious kind of resistance to 19th century piano music played on the same instrument. (I just thought of this explanation; maybe it's utter nonsense.)
Going back to Martinu, it's a shame those Hogwood/Matousek performances aren't as lively and colourful as they could be - I think Hogwood plays up the "neoclassical" aspects too much with the result that tempi and phrasing are somewhat inflexible. Still it's a lot better than not being able to hear those pieces.
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time_is_now
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« Reply #4072 on: 18:38:04, 11-11-2008 » |
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(I just thought of this explanation; maybe it's utter nonsense.) It's unusual, but I like it! Incidentally, I've just been putting the finishing touches to the (extremely involved, and it's dragged on for much longer than it ought to have) booklet for a 3CD set of organ voluntaries by the English composer William Russell (1777-1813), recorded for Delphian Records on the restored 1829 organ at St James, Bermondsey. It has 1/5-comma meantone temperament and similar excitements. Out in the new year, and it may well be of interest to various keyboard/period-instrument/funny-tuning-system enthusiasts on this forum. I'll mention it again when it's available. Going back to Martinu, it's a shame those Hogwood/Matousek performances aren't as lively and colourful as they could be - I think Hogwood plays up the "neoclassical" aspects too much with the result that tempi and phrasing are somewhat inflexible. Interesting. I don't know Martinu's work very well, but it did strike me that these performances seem to plunge right in with a couple of brisk opening chords as if someone was very eager to get things moving at all costs. Rather like an impatient schoolmaster starting up the 'Eroica' with a (very good, of course) school orchestra: expressive niceties sometimes seem to fall by the wayside. |
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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 #4073 on: 19:11:12, 11-11-2008 » |
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It has 1/5-comma meantone temperament and similar excitements. Out in the new year, and it may well be of interest to various keyboard/period-instrument/funny-tuning-system enthusiasts on this forum. I'll mention it again when it's available.
I'll keep an ear peeled. |
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Turfan Fragment
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« Reply #4074 on: 23:43:38, 11-11-2008 » |
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NS: Andrew Digby, gripes, for clarinet (+bass clar) and piano.
This is utterly beautiful, I must say, and very Digby, i.e., the way I imagined his music to sound someday. That day is today. Hats off, Andrew, non-lurking non-member that you are!
Soloists: Mark Knoop, piano; Carl Rosman, clarinets
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Evan Johnson
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« Reply #4075 on: 23:46:05, 11-11-2008 » |
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NS: Andrew Digby, gripes, for clarinet (+bass clar) and piano.
This is utterly beautiful, I must say, and very Digby, i.e., the way I imagined his music to sound someday. That day is today. Hats off, Andrew, non-lurking non-member that you are!
Soloists: Mark Knoop, piano; Carl Rosman, clarinets
Any chance that could be spun my (or other Members') way, digitally speaking? |
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richard barrett
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« Reply #4076 on: 23:49:32, 11-11-2008 » |
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NS: Andrew Digby, gripes, for clarinet (+bass clar) and piano.
This is utterly beautiful, I must say I rather like it too. |
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Turfan Fragment
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« Reply #4077 on: 23:51:11, 11-11-2008 » |
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NS: Andrew Digby, gripes, for clarinet (+bass clar) and piano.
This is utterly beautiful, I must say, and very Digby, i.e., the way I imagined his music to sound someday. That day is today. Hats off, Andrew, non-lurking non-member that you are!
Soloists: Mark Knoop, piano; Carl Rosman, clarinets
Any chance that could be spun my (or other Members') way, digitally speaking? Well, if it's ok with the performers, why not? The composer seems to be OK with such dissemination... I'll get back to you. |
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oliver sudden
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« Reply #4078 on: 23:56:10, 11-11-2008 » |
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Hm. Now I'm presuming that's just the run-through from the final rehearsal before our gig last Thursday. With a mobile phone ringing in the middle. Recorded on my trusty Zoom H4. Certain details were fixed after that run, of course. Or have you somehow obtained the BMIC archive recording from the gig? That would be odd.  |
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Turfan Fragment
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« Reply #4079 on: 23:57:27, 11-11-2008 » |
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I got a link from Andrew which he got from Mark. Yes, there is a 'disturbance' in the middle, and yes it is a rehearsal.
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