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Tam Pollard
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« Reply #45 on: 00:47:12, 21-02-2007 » |
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I must look out for that Celibidache Tchaikovsky 5th. I recently picked up a 4 disc box of various of his recordings (all very old and in rather poor sound, but it was only £5 in HMV) and there was some rather fine stuff, including a 1945 Brahms 4 with the BPO.
Someone on another forum has recommended his Bruckner very highly - does anyone here know it?
While on Tchaik 5, I'm rather fond of Barenboim's with the WEDO (though I'm sure that's coloured by my admiration for the ensemble).
In terms of time flying in good concerts, I used to have a scale for films which translates fairly well. At the bottom end, you keep glancing at your watch and every time think, surely it must be over by now. Moving up past occasional glances to something quite good you glance and think, surely it can't have been that long. Of course, in a really good performance you wouldn't look at your watch at all.
regards, Tam
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thompson1780
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« Reply #46 on: 00:47:42, 21-02-2007 » |
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Ollie, I have had a couple of performances where I was concerntrating so hard I couldn't remember them - and they got a good reaction. I often feel that as a performer I cannot let myself enjoy the music too much, and I have to work at a metalevel constructng the music as well as being involved in it. This lack of memory is of course entirely different from the sensation of blocking out any memory of a performance because it was so traumatic. I have, sadly, had one of those.  Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Tam Pollard
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« Reply #47 on: 00:53:19, 21-02-2007 » |
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First recordings have a funny way of sticking in the mind don't they. Nobody else will ever play the Beethoven 4th concerto for me quite like Kempff or the Jupiter symphony quite like Bernstein (though I have many other recordings that I adore).
Kleiber's Beethoven is very fine indeed. But I've recently come across two Eroica that do something very special for me - a live Furtwangler reading with the VPO from 1944 and Jochum's LSO account.
regards, Tam
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richard barrett
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« Reply #48 on: 00:58:17, 21-02-2007 » |
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SusanDoris,
Messiaen's Quartet is a beautiful piece but I think I can say without exaggerating that "Turangalîla" changed the course of my life. It's in a different emotional world (several, actually) than almost all other music, it's one of the most iridescently colourful orchestral compositions ever written, and everything in it fits together in fascinating and intricate ways. And if you do like it, which I expect you will, the whole of Messiaen's output is there waiting for you to go on to discover.
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richard barrett
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« Reply #49 on: 01:05:23, 21-02-2007 » |
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Someone on another forum has recommended his Bruckner very highly - does anyone here know it? Celibidache's Bruckner 6 is my favourite recording of that piece. His 9th (stretching onto a second CD!) has a finale which leaves me speechless, though the scherzo is for me too slow to do what it does properly. The 8th was the disappointment of the collection for me, and I haven't listened to the others thoroughly enough to have formed an opinion. Sometimes I become a little too keenly aware that I'm not listening to the VPO. But real music is being made in these performances by all concerned, and as with Tchaikovsky you'll hear things that open up a new perspective on the works. |
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oliver sudden
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« Reply #50 on: 01:11:27, 21-02-2007 » |
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In terms of time flying in good concerts, I used to have a scale for films which translates fairly well. At the bottom end, you keep glancing at your watch and every time think, surely it must be over by now. Oo no, that's not the bottom end. I used to think the bottom end was when you spend the entire time thinking OH MY GOD MAKE IT STOP!!!! That was until a concert some time in early 2005 where about halfway through one piece I put my coat over my head rather than endure the horror any longer. I'm fully prepared to find out at any time that that was nothing compared to the horror that awaited me one fateful evening in... ...(trails off)And worse I may be yet; the worst is not
So long as we can say 'this is the worst'. |
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oliver sudden
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« Reply #51 on: 01:16:16, 21-02-2007 » |
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entirely different from the sensation of blocking out any memory of a performance because it was so traumatic. I have, sadly, had one of those. ONE?!?!?!  Oh please. Ahem. I've also just discovered the 1944 Furtwängler Eroica. He was someone else I discovered recently who in a Celibidacheesque kind of way confronted me with various interpretations of pieces I thought I knew which made me realise I didn't. Furtwängler and Celibidache were both post-war Berlin Phil chief conductors. That must have been quite a time to be making music... |
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harrumph
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« Reply #52 on: 10:15:31, 21-02-2007 » |
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First recordings have a funny way of sticking in the mind don't they... Indeed. Nobody but Milstein need bother playing the Tchaikovsky violin concerto for me, nor John Browning the Prokofiev piano concertos. Of course, sometimes the discovery of the music itself obscures the qualities of the performance. Occasionally you obtain a much-wanted reissue of a dimly-but-fondly remembered first-heard recording only to wonder what made you think it was so special - Rosbaud's Bruckner Seven was an example for me. |
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trained-pianist
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« Reply #53 on: 11:31:53, 21-02-2007 » |
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harrumph, well said. We all change our opinions as we evolve as people. Our tastes in music change.
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Soundwave
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« Reply #54 on: 12:14:56, 21-02-2007 » |
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I've always tended to judge a performance by how well, in accord with what I believe to be the composer's intentions, the performers and the medium "communicated" with ME.
Cheers.
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Ho! I may be old yet I am still lusty
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Tam Pollard
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« Reply #55 on: 18:42:25, 22-02-2007 » |
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Richard,
Thanks, or rather no thanks (since I can already hear my wallet complaining), for that. I notice there are two sets of Bruckner symphonies - one from Munich on EMI and the other (about half the price) on DG with the Stuttgart and Swedish Radio SOs. Do you know how they compare?
regards, Tam
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thompson1780
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« Reply #56 on: 00:20:53, 23-02-2007 » |
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First recordings have a funny way of sticking in the mind don't they... Indeed. Nobody but Milstein need bother playing the Tchaikovsky violin concerto for me, harrumph, Which Milstein do/did you have? And have you heard the Tossy Spivakovsky? Similar school of playing, but different interpretation - more feminine in a way, and a real eye-opener. Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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harrumph
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« Reply #57 on: 11:26:39, 23-02-2007 » |
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Which Milstein do/did you have? The one that was on a World Record Club LP when I was 7 in 1964  With the Pittsburgh SO and Steinberg. |
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thompson1780
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« Reply #59 on: 21:34:15, 23-02-2007 » |
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Harumph,
Ah, just listening to it now. Although mine is an HMV LP - maybe a reissue?
Not only a great VC (which has just finished), but it's now moved onto a gorgeous Meditation - the original 2nd movement of the VC. Also the Scherzo Op.42 #2 and on the A side the Valse Scherzo. Still got the recording? Want me to try to get a copy to you somehow?
I know what you mean about first recorings making a huge impression - listening to them after a long time can feel like 'coming home'.
Cheers
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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