What are YOU listening to today?
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What are YOU listening to today?
This has proved to be such a popular subject that we should continue it on here! If possible give disc labels and numbers if you feel moved. This will help others to track down recordings they don't have.
Me? I've been listening to pianist FOU TS'ONG's recordings in preparation for a radio tribute. This includes Chopin and Mozart piano concertos, Schubert's B-flat Op. Posth. Sonata and German Dances, Scarlatti sonatas, Debussy, and Chopin solo works.
Me? I've been listening to pianist FOU TS'ONG's recordings in preparation for a radio tribute. This includes Chopin and Mozart piano concertos, Schubert's B-flat Op. Posth. Sonata and German Dances, Scarlatti sonatas, Debussy, and Chopin solo works.
Lance G. Hill
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
currently:
John Adams
The Dharma At Big Sur
San Francisco Symphony
Nonesuch Records
John Adams
The Dharma At Big Sur
San Francisco Symphony
Nonesuch Records
http://callmeclassical.blogspot.com
My Favorites:
Shostakovich: Cello Concerto || Adams: Harmonelehre || Dutilleux: Symphony No2 "Le Double" | Part: Cantus in Memorium of Benjamin Britten
My Favorites:
Shostakovich: Cello Concerto || Adams: Harmonelehre || Dutilleux: Symphony No2 "Le Double" | Part: Cantus in Memorium of Benjamin Britten
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Re: What are YOU listening to today?
It is continued here: I moved the threadover when we started the new fora. How else could the Music Room be (temporarily) ahead of the Pub in posts.Lance wrote:This has proved to be such a popular subject that we should continue it on here!
Corlyss
Contessa d'EM, a carbon-based life form
Contessa d'EM, a carbon-based life form
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Re: What are YOU listening to today?
Yes, I see it now and missed it when looking. It's drawing some responses as well. Heaven knows, as a classical music forum, it's nice to be ahead at the moment. We might as well leave it here, too as the bigger subject is continuing to get responses. Great news for CMG!Corlyss_D wrote:It is continued here: I moved the threadover when we started the new fora. How else could the Music Room be (temporarily) ahead of the Pub in posts.Lance wrote:This has proved to be such a popular subject that we should continue it on here!
Lance G. Hill
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
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Re: What are YOU listening to today?
Certainly. At the mo' I'm listening to a birthday tribute to Howard Shelley, whose natal day is this week. They devoted 2 hrs to his recordings of Hummel, Chopin, and MoschelesLance wrote:Yes, I see it now and missed it when looking. It's drawing some responses as well. Heaven knows, as a classical music forum, it's nice to be ahead at the moment. We might as well leave it here, too as the bigger subject is continuing to get responses. Great news for CMG!Corlyss_D wrote:It is continued here: I moved the threadover when we started the new fora. How else could the Music Room be (temporarily) ahead of the Pub in posts.Lance wrote:This has proved to be such a popular subject that we should continue it on here!
Corlyss
Contessa d'EM, a carbon-based life form
Contessa d'EM, a carbon-based life form
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Re: What are YOU listening to today?
Ah, Howard Shelley - an enormously gifted pianist - and sometimes conductor. Sounds like you're hearing some of his best. The Hummel material on Chandos has proved to be most worthwhile - exceptional pianism, superb recordings, rare repertoire ... what more could want except MORE of the same stuff!Corlyss_D wrote:Certainly. At the mo' I'm listening to a birthday tribute to Howard Shelley, whose natal day is this week. They devoted 2 hrs to his recordings of Hummel, Chopin, and Moscheles
Lance G. Hill
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Thanks for reminding me of Shelley's Hummel. I've been listening to Kapell's Chopin Mazurkas and must get some more of Kapell's output. Solomon's Appassionata has also been regular in recent times.
With all the talk of Schumann here recently, I must listen more often. Love the piano quintet and some of Kempff's recordings, but should get more.
With all the talk of Schumann here recently, I must listen more often. Love the piano quintet and some of Kempff's recordings, but should get more.
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Yesterday I watched a few minutes of the movie based on the book. Decided to give it a pass. Tonight saw a movie with Alan Ladd and Carolyn Jones in which the Brahms 3rd and Mendelssohn's Calm Sea and Prosperous Voyage played a prominent role.piston wrote:Aimez-vous Brahms?
Corlyss
Contessa d'EM, a carbon-based life form
Contessa d'EM, a carbon-based life form
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Brahms fourth symphony last night/Sawallisch-Phila
Going to hear Ingo Metzmacher conduct the Shostakovich fourth tonight with the Philadelphia Orchestra. I've never heard this great work live before, so I'm pretty excited.
Going to hear Ingo Metzmacher conduct the Shostakovich fourth tonight with the Philadelphia Orchestra. I've never heard this great work live before, so I'm pretty excited.
"If this is coffee, please bring me some tea; but if this is tea, please bring me some coffee." - Abraham Lincoln
"Although prepared for martyrdom, I preferred that it be postponed." - Winston Churchill
"Before I refuse to take your questions, I have an opening statement." - Ronald Reagan
http://www.davidstuff.com/political/wmdquotes.htm
http://www.youtube.com/watch?v=2pbp0hur ... re=related
"Although prepared for martyrdom, I preferred that it be postponed." - Winston Churchill
"Before I refuse to take your questions, I have an opening statement." - Ronald Reagan
http://www.davidstuff.com/political/wmdquotes.htm
http://www.youtube.com/watch?v=2pbp0hur ... re=related
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Finally I seem to have a bit of leisure time again (better too many engineering projects than not enough, I suppose). Last week I paged through Amazon.com for music which might be of marginal interest at full price but well worth exploring at half price. Max Bruch continues to intrigue me because he was a good composer who could be truly great when he set his mind to it. Come on, Max, we know you can do it! At the moment I'm listening to his oratorio Das Lied von der Glocke (The Song of the Bell) which is generally quite good, with a few great sections such as the rapturous finale.
Max Bruch (1838-1920): Das Lied von der Glocke für Soli, Chor und Orchester. Eleonore Marguerre, Soprano; Annette Markert, Alto; Klaus Florian Vogt, Tenor; Mario Hoff, Bass. Philharmonischer Chor Prag; Staatskapelle Weimer / Jac van Steen. CPO 777 130-2 (2 CDs) (Germany).
Next in my line-up this morning:
Max Bruch (1838-1920): Moses, ein biblisches Oratorium für Chor, Soli und Orchester. Michael Volle, Baritone; Robert Gambill, Tenor; Elizabeth Whitehouse, Soprano; Chor und Orchester der Bamberger Symphoniker / Claus Peter Flor. Orfeo C 438 982 H (2 CDs) (Germany).
Ferruccio Busoni (1866-1924): Orchestral Works, Vol. 1. Orchestral Suite No. 2 "Geharnischte Suite"; Berceuse Élégiaque; Concertino for Clarinet and Small Orchestra*; Zwei Studien zu "Doktor Faust": Sarabande und Cortège; Tanzwalzer. *John Bradbury, Clarinet; BBC Philharmonic / Neeme Järvi. Chandos CHAN 9920 (United Kingdom).
Ferruccio Busoni (1866-1924): Orchestral Works, Vol. 2. Lustspiel-Ouvertüre; Indianische Fantasie*; Gesang vom Reigen der Geister; Die Brautwahl: Suite für Orchester. *Nelson Goerner, Piano; BBC Philharmonic / Neeme Järvi. Chandos CHAN 10302 (United Kingdom).
This is probably the 10th time I've played these new CDs, which is probably a pretty good endorsement. Busoni's Tanzwalzer (Dance Waltzes) is delightful. Busoni wrote that?
Max Bruch (1838-1920): Das Lied von der Glocke für Soli, Chor und Orchester. Eleonore Marguerre, Soprano; Annette Markert, Alto; Klaus Florian Vogt, Tenor; Mario Hoff, Bass. Philharmonischer Chor Prag; Staatskapelle Weimer / Jac van Steen. CPO 777 130-2 (2 CDs) (Germany).
Next in my line-up this morning:
Max Bruch (1838-1920): Moses, ein biblisches Oratorium für Chor, Soli und Orchester. Michael Volle, Baritone; Robert Gambill, Tenor; Elizabeth Whitehouse, Soprano; Chor und Orchester der Bamberger Symphoniker / Claus Peter Flor. Orfeo C 438 982 H (2 CDs) (Germany).
Ferruccio Busoni (1866-1924): Orchestral Works, Vol. 1. Orchestral Suite No. 2 "Geharnischte Suite"; Berceuse Élégiaque; Concertino for Clarinet and Small Orchestra*; Zwei Studien zu "Doktor Faust": Sarabande und Cortège; Tanzwalzer. *John Bradbury, Clarinet; BBC Philharmonic / Neeme Järvi. Chandos CHAN 9920 (United Kingdom).
Ferruccio Busoni (1866-1924): Orchestral Works, Vol. 2. Lustspiel-Ouvertüre; Indianische Fantasie*; Gesang vom Reigen der Geister; Die Brautwahl: Suite für Orchester. *Nelson Goerner, Piano; BBC Philharmonic / Neeme Järvi. Chandos CHAN 10302 (United Kingdom).
This is probably the 10th time I've played these new CDs, which is probably a pretty good endorsement. Busoni's Tanzwalzer (Dance Waltzes) is delightful. Busoni wrote that?
I'm currently listening to Harnoncourt and the Conceritus Musicus Wien's recording of Bach's Brandenburg Concertos on the Teldec label. Great overall performance and sound engineering, and a real bargain on iTunes for only $9.99!
„Du sollst schlechte Compositionen weder spielen, noch, wenn du nicht dazu gezwungen bist, sie anhören.‟
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I will continue to make my regular weekly reports on my listening in the other thread, but I just started 3 new listening projects today, and will add another tomorrow, and those four will constitute most of my listening for the next two, or perhaps three weeks, so I thought it might be auspicious to reveal them now.
I have begun listening to the Parisii Quartet recordings of the complete Milhaud string quartets and octet (quartets 14 & 15 played together) on 5 CDs from Naive, the ESS.A.Y label set of three twofers of the complete solo piano music of Mily Balakirev by Alexander Paley, and the 13 CD Capriccio set of the complete Mozart Symphonies conducted by Hans Graf. And tomorrow, I will add the fourth set--the 12 CD Chailly Mahler symphony cycle from Decca.
I have begun listening to the Parisii Quartet recordings of the complete Milhaud string quartets and octet (quartets 14 & 15 played together) on 5 CDs from Naive, the ESS.A.Y label set of three twofers of the complete solo piano music of Mily Balakirev by Alexander Paley, and the 13 CD Capriccio set of the complete Mozart Symphonies conducted by Hans Graf. And tomorrow, I will add the fourth set--the 12 CD Chailly Mahler symphony cycle from Decca.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
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Is this unaccompanied?piston wrote:Max Reger: Suite no. 2 for 'cello (excellent)
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Max Bruch: Complete works for violin and orchestra, Kurt Masur, Salvatore Accardo, violin, Gewandhaus Orchestra
Violin concerto, no. 1, in G minor, op. 26. -- Violin concerto, no. 2, in D minor, op. 44. -- Violin concerto, no. 3, in D minor, op. 58. --Adagio appassionato, op. 57. -- Romance, op. 42. -- "Scottish Fantasy", op. 46. -- "Konzertstück", op. 84. -- Serenade, op. 75. -- "In Memoriam", op. 65
(taped recordings of 4 LP boxset, Philips)
Ravel's complete orchestral works, Claudio Abbado, L.S.O., DG 3-CD box set (with the butterflies on the cover ).
One of Ravel's greatest talents, IMO, was orchestration. Lots of room for instrumental solos, considerable variations in instrumental combination and succession. Relatively "modest" instruments, such as the flute, offer important contributions no less than strings, etc.
One of Ravel's greatest talents, IMO, was orchestration. Lots of room for instrumental solos, considerable variations in instrumental combination and succession. Relatively "modest" instruments, such as the flute, offer important contributions no less than strings, etc.
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Henri Dutilleux (1916- ), France:
Symphonies: No. 1, No. 2 "Le Double". BBC Philharmonic Orchestra / Yan Pascal Tortelier. Chandos CHAN 9194 (United Kingdom).
Orchestral Works I. Symphony No. 2 "Le Double"; Métaboles; The Shadows of Time. Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 807860 (Germany).
Orchestral Works II. Symphony No. 1; Tout un monde lontain… for cello and orchestra (Jean-Guihen Queyras, Cello); Timbres, Éspace, Mouvement ou "La Nuite Étoilée". Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 928130 (Germany).
Orchestral Works III. L'Arbe des Songes (Concerto for Violin and Orchestra) (Olivier Charlier, Violin); La Geôle, Deux Sonnets de Jean Cassou (François le Roux, Baritone); Mystère de l'Instant (for 24 Strings, Cimbalom and Percussion). Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 638250 (Germany).
Dave
Symphonies: No. 1, No. 2 "Le Double". BBC Philharmonic Orchestra / Yan Pascal Tortelier. Chandos CHAN 9194 (United Kingdom).
Orchestral Works I. Symphony No. 2 "Le Double"; Métaboles; The Shadows of Time. Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 807860 (Germany).
Orchestral Works II. Symphony No. 1; Tout un monde lontain… for cello and orchestra (Jean-Guihen Queyras, Cello); Timbres, Éspace, Mouvement ou "La Nuite Étoilée". Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 928130 (Germany).
Orchestral Works III. L'Arbe des Songes (Concerto for Violin and Orchestra) (Olivier Charlier, Violin); La Geôle, Deux Sonnets de Jean Cassou (François le Roux, Baritone); Mystère de l'Instant (for 24 Strings, Cimbalom and Percussion). Bordeaux Aquitaine National Orchestra / Hans Graf. Arte Nova ANO 638250 (Germany).
Dave
Glazunov:
Fantasy: The Sea, op. 28
Oriental Rhapsody, op.29
Ballade, op. 78
Cortège solennel, op. 91
Variations on a Russian Theme (composite piece)
Piano Concerto no. 1, op. 92
Piano Concerto no.2, op. 100
Stenka Razin, op. 13
Une fëte slave, op. 26
Cortège solennel, op. 50
Fantaisie, op. 53
Mazurka, op. 18
March on a Russian Theme, op. 76
OvertureL: Carnaval, op. 45
Spring, op. 34
Concert waltz, no. 1, op. 47, and no.2, op. 51
Salomé, incidental music to the play of Oscar Wilde, op. 90
4 Mazurka-oberek in D-Major for violin and orchestra
Concerto Ballato for cello and orchestra, op. 108
Chant du ménestrel for 'cello and orchestra, op. 71
Two pieces for 'cello and orchestra, op. 20
A la mémoire de Gogol, op. 87
A la mémoire d'un héros, op. 8
Symphony no. 3 in D Major, op. 33
Symphony no. 5 in B-flat Major, op. 55
Symphony no. 8 in E-flat Major, op. 83
Symphony no. 9 in D minor (unfinished; orchestrated by Gavril Yudin)
Fantasy: The Sea, op. 28
Oriental Rhapsody, op.29
Ballade, op. 78
Cortège solennel, op. 91
Variations on a Russian Theme (composite piece)
Piano Concerto no. 1, op. 92
Piano Concerto no.2, op. 100
Stenka Razin, op. 13
Une fëte slave, op. 26
Cortège solennel, op. 50
Fantaisie, op. 53
Mazurka, op. 18
March on a Russian Theme, op. 76
OvertureL: Carnaval, op. 45
Spring, op. 34
Concert waltz, no. 1, op. 47, and no.2, op. 51
Salomé, incidental music to the play of Oscar Wilde, op. 90
4 Mazurka-oberek in D-Major for violin and orchestra
Concerto Ballato for cello and orchestra, op. 108
Chant du ménestrel for 'cello and orchestra, op. 71
Two pieces for 'cello and orchestra, op. 20
A la mémoire de Gogol, op. 87
A la mémoire d'un héros, op. 8
Symphony no. 3 in D Major, op. 33
Symphony no. 5 in B-flat Major, op. 55
Symphony no. 8 in E-flat Major, op. 83
Symphony no. 9 in D minor (unfinished; orchestrated by Gavril Yudin)
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Shostakovich
Symphony No. 4 in C Minor, Opus 43
SNO / Järvi
Space is a little too reverberant, which is to say, there are times when the rich textures muddy.
Symphony No. 4 in C Minor, Opus 43
SNO / Järvi
Space is a little too reverberant, which is to say, there are times when the rich textures muddy.
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Glazunov:
The King of the Jews, op. 95
The Kremlin, op. 30
From the Middle Ages, op. 79
Poème lyrique, op. 12
Poème épique, op. posth.
Finnish Fantasy, op. 88
Finnish Sketches, op. 89
Ouverture solennelle, op. 73
Wedding March, op. 21
Le chant du destin, op. 84
Suite caractéristique, op. 9
Préludes op. 85, no. 1 and 2.
The King of the Jews, op. 95
The Kremlin, op. 30
From the Middle Ages, op. 79
Poème lyrique, op. 12
Poème épique, op. posth.
Finnish Fantasy, op. 88
Finnish Sketches, op. 89
Ouverture solennelle, op. 73
Wedding March, op. 21
Le chant du destin, op. 84
Suite caractéristique, op. 9
Préludes op. 85, no. 1 and 2.
Brian Eno: Music for Airports
Satie: piano music played by Reinbert de Leeuw
Webern pieces: Ulster Orchestra, Takuo Yuasa
I'm floating, floating....
Satie: piano music played by Reinbert de Leeuw
Webern pieces: Ulster Orchestra, Takuo Yuasa
I'm floating, floating....
"The law isn't justice. It's a very imperfect mechanism. If you press exactly the right buttons and are also lucky, justice may show up in the answer. A mechanism is all the law was ever intended to be." - Raymond Chandler
Very much a romantic, lately. Will shed my snake skin eventually:
Glazunov:
Symphony no. 6 in C minor, op. 58
The Forest, op. 19
Symphony no. 3 in F-Sharp minor, op. 16
Symphony no. 7 in F major, op. 77 "Pastoral"
Raymonda (complete ballet) op. 57
Violin Concerto in A minor, op. 82
And his summum
The Seasons
Glazunov:
Symphony no. 6 in C minor, op. 58
The Forest, op. 19
Symphony no. 3 in F-Sharp minor, op. 16
Symphony no. 7 in F major, op. 77 "Pastoral"
Raymonda (complete ballet) op. 57
Violin Concerto in A minor, op. 82
And his summum
The Seasons
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Feeling a bit cretinous last evening, I thought I'd hear what SIR NEVILLE MARRINER can supposedly do, outside his well-established chamber orchestra specialty. I ordered super-cheap from Amazon a CD of him traversing (travesty-ing?) 3 old French warhorses: Danse Macabre, The Sorcerer's Apprentice, and Bolero.
The chief quality Marriner lacks in tackling this stuff is the basic ability to distinguish between foreground and background; secondary, accompanimental textures often threaten to dominate the main melodic ideas. It's apparently Marriner's desire to make every texture in a showpiece as clear as if it were in a chamber piece, that monotony eventually sets in (and that's a fatal quality especially in the Bolero). There IS some delight in some of this coloristic confusion, such as in the early stages of Danse Macabre.....but it's so hard-driven and businesslike, and much too extroverted; Marriner doesn't let you experience the deliciously GOTHIC elements of this and Sorcerer's Apprentice. No doom and gloom in either work here; Sorcerer, in addition, is all but done in by Marriner's (surprisingly) tasteless handling of the various tempo relationships; when the faster section gets underway, he radically and inexplicably slows it down halfway through, then (at the section where the panicky apprentice grabs the axe from the broomcloset) speeding up, equally radically. This treatment can come off well if the pages preceding are done at just a slightly slower speed: the French (particularly Paray and Dervaux) always magnificently handled this. But Marriner violates this & a fair number of other markings Dukas set forth (no apparent slowing down in the contrabassoon's solo, or eventual acceleration when the bass clarinet joins in--this segement's completely robbed of all its spookiness).
I have only to add that Bolero, as rendered (rended?) by Marriner has some strange instrument in the final stages that sounds like a windup-toy on the second beat of each bar, that I never heard before....I don't think I'm supposed to hear it.
The chief quality Marriner lacks in tackling this stuff is the basic ability to distinguish between foreground and background; secondary, accompanimental textures often threaten to dominate the main melodic ideas. It's apparently Marriner's desire to make every texture in a showpiece as clear as if it were in a chamber piece, that monotony eventually sets in (and that's a fatal quality especially in the Bolero). There IS some delight in some of this coloristic confusion, such as in the early stages of Danse Macabre.....but it's so hard-driven and businesslike, and much too extroverted; Marriner doesn't let you experience the deliciously GOTHIC elements of this and Sorcerer's Apprentice. No doom and gloom in either work here; Sorcerer, in addition, is all but done in by Marriner's (surprisingly) tasteless handling of the various tempo relationships; when the faster section gets underway, he radically and inexplicably slows it down halfway through, then (at the section where the panicky apprentice grabs the axe from the broomcloset) speeding up, equally radically. This treatment can come off well if the pages preceding are done at just a slightly slower speed: the French (particularly Paray and Dervaux) always magnificently handled this. But Marriner violates this & a fair number of other markings Dukas set forth (no apparent slowing down in the contrabassoon's solo, or eventual acceleration when the bass clarinet joins in--this segement's completely robbed of all its spookiness).
I have only to add that Bolero, as rendered (rended?) by Marriner has some strange instrument in the final stages that sounds like a windup-toy on the second beat of each bar, that I never heard before....I don't think I'm supposed to hear it.
Good music is that which falls upon the ear with ease, and quits the memory with difficulty.
--Sir Thomas Beecham
--Sir Thomas Beecham
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I listened today to my old LPs of Die Walküre conducted by Karajan for the first time in quite a while. Very good!
"The law isn't justice. It's a very imperfect mechanism. If you press exactly the right buttons and are also lucky, justice may show up in the answer. A mechanism is all the law was ever intended to be." - Raymond Chandler
I listened to it!!! Including when I was taking a shower. Nothing like being serenaded by Count Almaviva while showering.... Just Kidding!Ellie Kett wrote:What - do you mean to tell me that no one has listened to the beautiful Met broadcast of The Barber of Seville ?
What's the matter with you folks .
Based on the above listening list, I think you're all taken up with too much tuneless music.
Ellie
Hmm, Michael Bolton singing "Nessun Dorma"? Wouldn't that induce the opposite effect of what the aria is about in putting people to sleep???GK wrote:"Extreme Nessun Dorma"--A CD put together by a friend, of a bunch of tenors singing the famous aria from Turandot. Most sing it pretty well even Andrea Bocelli--but not Michael Bolton. Franco Corelli does it the best.
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