Fergus wrote:Spoken (written) like a true native....the entire Irish contingent is highly impressed DonDonaldopato wrote: Go raibh maith agat Seán.
(did I say that right?)
WOW, Don, you will put alot of Irish people to shame, well done.Donaldopato wrote:Fergus wrote:Spoken (written) like a true native....the entire Irish contingent is highly impressed DonDonaldopato wrote: Go raibh maith agat Seán.
(did I say that right?)
As Sean knows, I am full Irish on my mother's side, a Cloney. This is from my "cheat sheet" of Irish phrases. My Grandmother used them now and then, and some others which I wished I had remembered, but as a kid was not allowed to!
Any chance of your getting me a family discount on a pair of System Audio speakers by any chance? 
Yes you do!Fergus wrote:The old adage "Great minds think alike; fools seldom differ" springs to mind....I can only assume that we both fit into the first category DarrenbombasticDarren wrote: I was about to post pretty much the same sentiments
Mackerras' Brahms is a wonderful thing - I took a whle to gel with Brahms and his orchestral works, and I can't help but think that if I had heard Mackerras first (rather than Karajan or Abbado for example) it may have been an immediately gratifying introduction
My New Year resolution? Carry on as I did in 2010 and complete the Solti/CSO Mahler cycle too.Fergus wrote:That cycle should be in every (Mahler) collectionSeán wrote:....If I can get a copy of the entire set at a reasonable price I'll snap it up...CharmNewton wrote:
What a pity....I always feel that language is the essence of a culture.Donaldopato wrote: As Sean knows, I am full Irish on my mother's side, a Cloney. This is from my "cheat sheet" of Irish phrases. My Grandmother used them now and then, and some others which I wished I had remembered, but as a kid was not allowed to!
Flattery will get you everywhere my friendSeán wrote:Yes you do!Fergus wrote:The old adage "Great minds think alike; fools seldom differ" springs to mind....I can only assume that we both fit into the first category DarrenbombasticDarren wrote: I was about to post pretty much the same sentiments
Mackerras' Brahms is a wonderful thing - I took a whle to gel with Brahms and his orchestral works, and I can't help but think that if I had heard Mackerras first (rather than Karajan or Abbado for example) it may have been an immediately gratifying introduction
I will be watching you....remember you, me and that Bertini cycleSeán wrote: My New Year resolution? Carry on as I did in 2010 and complete the Solti/CSO Mahler cycle too.
That one is high on my Wish List for the New YearSeán wrote:
I recently listened the the Perahia recording and can highly recommend that alsoSeán wrote:
Franz Schubert
Sonata in B flat major D 960
Wilhelm Kempff piano.
I have listened to this piece several times over the past two days and when I have finished it I always listen to the first movement a second time, it is a beautifully intelligently constructed piece of music and, I feel, is a complete piece in it's own right. This is great music. I have been so absorbed by Beethoven this year that I hadn't even considered Schubert's sonatas.
Thanks to Matt for bringing this to my attention in the first place.
Perhaps I will get the Radu Lupu recordings early in the New Year.
Fergus wrote:What a pity....I always feel that language is the essence of a culture.Donaldopato wrote: As Sean knows, I am full Irish on my mother's side, a Cloney. This is from my "cheat sheet" of Irish phrases. My Grandmother used them now and then, and some others which I wished I had remembered, but as a kid was not allowed to!
Do not be shy about throwing in the odd cúpla focail here and there
Indeed I do, it was a case of Bertini for slow learners.Fergus wrote:I will be watching you....remember you, me and that Bertini cycleSeán wrote: My New Year resolution? Carry on as I did in 2010 and complete the Solti/CSO Mahler cycle too.
An Irish Grandmother in angry flight is indeed a terrifying sight. I cannot imagine an Irish lady swearing, however, she might have brought the fires of hell down on all insundry.Donaldopato wrote:Fergus wrote:What a pity....I always feel that language is the essence of a culture.Donaldopato wrote: As Sean knows, I am full Irish on my mother's side, a Cloney. This is from my "cheat sheet" of Irish phrases. My Grandmother used them now and then, and some others which I wished I had remembered, but as a kid was not allowed to!
Do not be shy about throwing in the odd cúpla focail here and there
Actually, I was referring to my Grandmother's rather colorful vocabulary. When she would get mad, she'd frequently go off in Irish Gaelic and I am sure the words would not be suitable to print here, not even in the Pub!
I asked a friend who plays the baroque violin and obviously knows about period performance practice better than I do to check on YouTube, and he believes they comfortably can be called "period instruments". He says the chin rests are irrelevant to describe a performance as baroque or modern, some violinists use them others don´t, but that´s unimportant for the period sound, the important thing is the bowing and the articulation, and the Mozart Orchestra is safe on that department. And even though the YouTube sound is not perfect, he believes all the strings use gut, in fact he says it would be ridiculous for Carmignola to use gut and the others don´t.mcq wrote:As far as I'm aware, most of the musicians play modern instruments. There are exceptions: violas de gamba make an appearance in Concerto 6, Jacques Zoon plays a wooden flute in Concerto 5 and Carmignola uses a baroque bow. (He's also the only one that doesn't use a chin rest.) However, I believe the strings used are modern steel ones. The complete performance is on YouTube so please let me know if I'm mistaken. It's still great music-making.josé echenique wrote:I knew of the dvds but so far they are available only in PAL.mcq wrote:I have these performances on DVD and they are quite simply fantastic. Chamber-sized band of modern instruments with period manners. Warm-hearted, fresh and vibrant performances that fully deserve a separate release on CD (where they will hopefully receive a wider audience).josé echenique wrote:I don´t know yet Fergus, since it will be released in February, but it´s already been ordered of course!Fergus wrote:Well, well, well....that is certainly intruiging!!! How does it sound José?josé echenique wrote:
Who says old dogs can´t learn new tricks?
But you can´t help admiring Abbado for keeping up with the times. He knows it´s just not possible to keep performing Baroque Music as Klemperer and I Musici did 50 years ago.
But are you sure they are modern instruments? I would be very surprised. The Mozart Orchestra so far has only recorded in period instruments, Pergolesi and Mozart, and Giuliano Carmignola has become the new dandy of period violinists.
That´s exactly what I often say here. The all-purpose Karajan sound, magnificent for the late Romantics won´t do for Haydn and Mozart, let alone Bach or Vivaldi.mcq wrote:Thanks for clarifying that, Jose (with regard to Abbado's set of the Brandenburgs). I thought that, even though the musicians were adhering to period performance practice, modern instruments were being employed, but I stand corrected. However, it almost seems quaint in 2010/11 to be talking about "period performance practice". I think that such period practice has been so well assimilated by today's musicians that many modern players can incorporate historically-informed practices on their modern instruments. And some of the best recent recordings of Romantic repertoire - for example, Harnoncourt's Beethoven - has shown us that this need not be limited to Baroque music. Personally speaking, it's very hard to go back to the homogeneity of Karajan's BPO strings after hearing such an approach to this great music.
Maybe, but not all the instruments used in Abbado´s Brandenburgs are period. The horns, the trumpet and the oboe´s are definitly modern instruments. I have not studied the strings sufficiently to tell, but as I own the DVD release, I shall do so later.josé echenique wrote:That´s exactly what I often say here. The all-purpose Karajan sound, magnificent for the late Romantics won´t do for Haydn and Mozart, let alone Bach or Vivaldi.mcq wrote:Thanks for clarifying that, Jose (with regard to Abbado's set of the Brandenburgs). I thought that, even though the musicians were adhering to period performance practice, modern instruments were being employed, but I stand corrected. However, it almost seems quaint in 2010/11 to be talking about "period performance practice". I think that such period practice has been so well assimilated by today's musicians that many modern players can incorporate historically-informed practices on their modern instruments. And some of the best recent recordings of Romantic repertoire - for example, Harnoncourt's Beethoven - has shown us that this need not be limited to Baroque music. Personally speaking, it's very hard to go back to the homogeneity of Karajan's BPO strings after hearing such an approach to this great music.
Abbado has had the sense and sensibility to realize the obvious: that Bach and Mozart sound much better in the instruments of their time. Bravo Claudio!!!
You are quite correct, the trumpet, the horns and the oboe are definitely modern, I just saw the video a few minutes ago. I think my friend violinist meant only the violins. Very strange because the Mozart Orchestra so far in their Archiv recordings uses 100% period instruments. I even think Carmignola apart, most of the players are different too. They do, however, articulate in period manner. I wonder if the DG recording is going to be the soundtrack of the video or they are going to rerecord them with the original "period" Mozart Orchestra.premont wrote:Maybe, but not all the instruments used in Abbado´s Brandenburgs are period. The horns, the trumpet and the oboe´s are definitly modern instruments. I have not studied the strings sufficiently to tell, but as I own the DVD release, I shall do so later.josé echenique wrote:That´s exactly what I often say here. The all-purpose Karajan sound, magnificent for the late Romantics won´t do for Haydn and Mozart, let alone Bach or Vivaldi.mcq wrote:Thanks for clarifying that, Jose (with regard to Abbado's set of the Brandenburgs). I thought that, even though the musicians were adhering to period performance practice, modern instruments were being employed, but I stand corrected. However, it almost seems quaint in 2010/11 to be talking about "period performance practice". I think that such period practice has been so well assimilated by today's musicians that many modern players can incorporate historically-informed practices on their modern instruments. And some of the best recent recordings of Romantic repertoire - for example, Harnoncourt's Beethoven - has shown us that this need not be limited to Baroque music. Personally speaking, it's very hard to go back to the homogeneity of Karajan's BPO strings after hearing such an approach to this great music.
Abbado has had the sense and sensibility to realize the obvious: that Bach and Mozart sound much better in the instruments of their time. Bravo Claudio!!!
This is the only volume I have as well. It is quite good! It appears there are 5 volumes in total.karlhenning wrote:I haven't heard that volume; but the volume I have heard (vol. 3, 1922-1942) is excellent!Prometheus wrote:Shostakovich-Songs-Delos.
Cheers,
~Karl
I only have the 1st and 8th from that cycle. I have heard good things about it, but it is out of print and rather expensive. Hopefully it will be reissued one day.Fergus wrote:That cycle should be in every (Mahler) collectionSeán wrote:....If I can get a copy of the entire set at a reasonable price I'll snap it up...CharmNewton wrote:
.Hard to believe, but 2012 will mark the centennial year of Solti's birth. I expect some big boxes to be available, probably re-mastered to boot.Prometheus wrote:I only have the 1st and 8th from that cycle. I have heard good things about it, but it is out of print and rather expensive. Hopefully it will be reissued one day.Fergus wrote:That cycle should be in every (Mahler) collectionSeán wrote:....If I can get a copy of the entire set at a reasonable price I'll snap it up...CharmNewton wrote:
Thank you very much for that Darren as I really do like Perahia's playing quite a lotbombasticDarren wrote:I recently listened the the Perahia recording and can highly recommend that alsoSeán wrote:
Franz Schubert
Sonata in B flat major D 960
Wilhelm Kempff piano.
I have listened to this piece several times over the past two days and when I have finished it I always listen to the first movement a second time, it is a beautifully intelligently constructed piece of music and, I feel, is a complete piece in it's own right. This is great music. I have been so absorbed by Beethoven this year that I hadn't even considered Schubert's sonatas.
Thanks to Matt for bringing this to my attention in the first place.
Perhaps I will get the Radu Lupu recordings early in the New Year.
Good for her....she was delving deep to express her true feelingsDonaldopato wrote: Actually, I was referring to my Grandmother's rather colorful vocabulary. When she would get mad, she'd frequently go off in Irish Gaelic and I am sure the words would not be suitable to print here, not even in the Pub!
Although I am an early riser I can be a late developerSeán wrote:Indeed I do, it was a case of Bertini for slow learners.
Oh, I didn't realise that you had that, I'm a bit surprised actually as it is probably a big band approach. That said, I do really like Chailly and the Gewandhausorchester is a fabulous orchestra.Fergus wrote:I recently got to listen to parts of the recording below and I was well impressed....
That was some task that you set for yourself, Don, did you complete it?Donaldopato wrote:Sort of like Loren Maazel http://www.classicalmusicguide.com/view ... 10&t=37694I am indulging in the 9 Symphonies this NYE:
Beethoven 3 and 8
Vanska Minnesota Orchestra BIS
Beethoven 5
Cantelli New York Philharmonic 2/21/54
Beethoven 6
Bernstein New York Philharmonic
Beethoven 9
Von Karajan Berlin Philharmonic 1962
In addition to those, I did the 1 and 7 with Ferencsik, and 2 and 4 with Cluytens.Seán wrote:That was some task that you set for yourself, Don, did you complete it?Donaldopato wrote:Sort of like Loren Maazel http://www.classicalmusicguide.com/view ... 10&t=37694I am indulging in the 9 Symphonies this NYE:
Beethoven 3 and 8
Vanska Minnesota Orchestra BIS
Beethoven 5
Cantelli New York Philharmonic 2/21/54
Beethoven 6
Bernstein New York Philharmonic
Beethoven 9
Von Karajan Berlin Philharmonic 1962
Well done, it's a lovely mix too. I'm delighted to see that you have Vänskä up there in the same company as Cluytens, von Karajan and Bernstein. I have to confess that I am not familiar with Cantelli.Donaldopato wrote:In addition to those, I did the 1 and 7 with Ferencsik, and 2 and 4 with Cluytens.Seán wrote:That was some task that you set for yourself, Don, did you complete it?Donaldopato wrote:Sort of like Loren Maazel http://www.classicalmusicguide.com/view ... 10&t=37694I am indulging in the 9 Symphonies this NYE:
Beethoven 3 and 8
Vanska Minnesota Orchestra BIS
Beethoven 5
Cantelli New York Philharmonic 2/21/54
Beethoven 6
Bernstein New York Philharmonic
Beethoven 9
Von Karajan Berlin Philharmonic 1962
Yes, I did finish the whole cycle. I saved the 9th for about 10:30PM and thus, like Maestro Maazel, got them all in by midnight. I think my task was easier!
Today it is the Fleisher/Szell/Cleveland Piano Concerto cycle.
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