harrumph
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« Reply #15 on: 15:48:31, 21-02-2007 » |
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...there is a slot on Sundays, hosted by an ex-Conservative MP ex-filandering non-ex-Chelsea fan called "If you liked that then you'll like this". It's not very good. Nevertheless... if you like Verklarte Nacht, then you'll probably like Sommernacht, by Othmar Schoeck |
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autoharp
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« Reply #16 on: 16:59:37, 21-02-2007 » |
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I've not made head or tail of VN. Am I on my own ?
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stuart macrae
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« Reply #17 on: 17:22:15, 21-02-2007 » |
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Sorry, can't keep you company there Autoharp - I've always loved Verklärte Nacht. Especially live, it has enormous intensity and passion, and I love the way it keeps moving ahead.  |
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oliver sudden
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« Reply #18 on: 17:39:29, 21-02-2007 » |
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autoharp - you're in the company of Ollie until about 1999ish; then I heard a couple of very coherent performances. I think the only conductor I've yet heard make sense of it is Boulez (that was in a concert in 1999 in Paris). I also didn't have any problem with various unconducted performances (Leipzig Quartet, Parrenin Quartet, La Salle Quartet, all augmented of course).
But it's certainly easy for it to fall in a heap structurally.
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smittims
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« Reply #19 on: 08:41:43, 22-02-2007 » |
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One of the finest recorded performances of Verklaerte Nacht is that by the English Chamber Orchestra conducted by Daniel Barenboim .It had onlyshort stay on LP in its origina lissue,but it's now on a splendid EMI 2-CDset which includes Barbirolli's 'Pelleas und Melisande' and Rattle's Kammersinfonie op.9 and the Schoenberg-Brahms Quartet.
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thompson1780
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« Reply #20 on: 23:01:01, 23-02-2007 » |
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Oh dear,
I just got out one of my recordings of this which I haven't played for a while - Julliard String Quartet, Walter Trampler, & Yo-Yo Ma. (Sony Classical, 1991 recording). I wish I hadn't.
I know from the critics board that there is a feeling that critics shouldn't just carp, and the most valuable reviews by members are the ones that enthuse about works - I do tend to agree. But I feel I have to save you all from this awful recording.......
The intonation is awful, especially from the two celli and the 1st violin. It's really like sucking lemons in places. I really don't know what they were thinking of when they agreed to release this. Slightly less omnipresent is the scratchy tone of the playing - particularly from the cellos. These two things alone would be enough to get in the way of enjoying any decent musical ideas they come up with, but I can't detect any to be sure....
Sorry. Grump over. I hope you are warned.
I shall now try and cleanse my ears, and I'll also try to come back with a more positive recommendation.
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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roslynmuse
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« Reply #21 on: 23:08:06, 23-02-2007 » |
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Did anyone hear Metamorphosen this evening in the companion concert to the one that started this thread?
Am I alone in finding this an impenetrable work?
I've listened to it many times, with and without the score, and really can't make anything of it.
Esa-Pekka S seemed to be taking the "let's get thro' it quickly, it might hang together better" approach, which felt (gut response) wrong; on a more positive note, there was a sense that Strauss was being sincere in this work in a way I rarely feel in much (most) of his other music, enjoyable as it sometimes is.
Can someone point me in the right direction here?
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ernani
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« Reply #22 on: 23:34:34, 23-02-2007 » |
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Why not try Karajan's BPO recording?  |
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roslynmuse
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« Reply #23 on: 23:45:51, 23-02-2007 » |
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I have! Admittedly, it was some time ago; for my taste it sounded a bit overblown (not solo strings, I guess), but I should try it again...
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ernani
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« Reply #24 on: 00:51:39, 24-02-2007 » |
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Purely subjective, I know, but I guess I'm something of a sucker for Karajan and the BPO in this work, and in Verklärte Nacht for that matter, and I'd substitute the adjective 'overblown' for 'lush' in describing these recordings. I wonder, is there still a lingering doubt that these works, especially the Schoenberg, shouldn't be played with a sumptuous sound...?
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roslynmuse
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« Reply #25 on: 00:59:07, 24-02-2007 » |
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Strangely, I don't have a problem with the Schoenberg played like that. Maybe it is that the Strauss is emotionally more ambivalent - I'm not quite sure what I mean by that - maybe I should compare a few contrasting readings, lean and "full-fat" !
Thanks for the replies!
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Tantris
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« Reply #26 on: 09:57:44, 24-02-2007 » |
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I agree with the comments above on the Juilliard recording - the Arditti Quartet (augmented with Thomas Kakuska and Valentin Erben) recording on Montaigne is however well worth listening to (although it is sadly OOP at the moment, I think).
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richard barrett
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« Reply #27 on: 10:21:07, 24-02-2007 » |
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My favourite recordings of Verklärte Nacht are the LaSalle (for the chamber version) and Chamber Orchestra of Europe/Holliger for the string orchestra version. I've never particularly liked any of the recordings I've heard by the Juilliard, though my main complaint would be about the indiscriminate and obtrusive vibrato.
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oliver sudden
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« Reply #28 on: 19:35:51, 24-02-2007 » |
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Again for me there was one particular Metamorphosen that made it suddenly seem coherent. That was a VPO/Rattle performance in Paris about 10 years ago. The CD of it on EMI is a pretty good likeness, all things considered, and it's attached to a very fine Mahler 9 and one can never have too many of those. |
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smittims
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« Reply #29 on: 10:56:54, 26-02-2007 » |
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I don't think Schoenberg would have objected to a lush,romantic performance of 'Verklaerte nacht.'
When he was invited by Otto Klemperer to conduct the Los Angeles Philharmonic in the 1930s he chose Brahms third Symphony and surprised the orchestra by beating the first movement in a slow six. He insisted he had seen Brahms do this in the 1890s.
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