Delibes: Sylvia, New Philharmonia Orchestra conducted by Richard Bonynge (Decca).
Nicely done, nice music, etc. But I don't see why Tchaikovsky thought that this music was superior to his Swan Lake ("poor stuff in comparison" - "I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake").
I wish I could say I've been listening to
classical music, but I haven't for a while.
I need to start playing the piano again.
Appissionata and other LvB sournotes.
This is the ending to one of his operas, with
nuns facing the guillotine. Amazing ending
https://www.youtube.com/watch?v=Cd9EFJaURmI
Simeon ten Holt
On Friday, March 3, 2023 at 7:00:08 PM UTC-8, Dan Koren wrote:
Simeon ten Holt
A shorter, more modest work: only 2 pianos
and lasting barely one hour and four minutes.
It leaves Glass in the dust!
dk
On Saturday, March 4, 2023 at 4:46:28 AM UTC-8, Dan Koren wrote:
On Friday, March 3, 2023 at 7:00:08 PM UTC-8, Dan Koren wrote:
Simeon ten Holt
A shorter, more modest work: only 2 pianos
and lasting barely one hour and four minutes.
It leaves Glass in the dust!
dkMy top recommendations would be Lemniscaat and Canto Ostinato.
But given your opinions on rhythm and repetition, I am somewhat surprised you're giving ten Holt a try.
On Sunday, 5 March 2023 at 09:03:34 UTC+11, number_six wrote:
On Saturday, March 4, 2023 at 4:46:28 AM UTC-8, Dan Koren wrote:
On Friday, March 3, 2023 at 7:00:08 PM UTC-8, Dan Koren wrote:
Simeon ten Holt
A shorter, more modest work: only 2 pianos
and lasting barely one hour and four minutes.
It leaves Glass in the dust!
My top recommendations would be Lemniscaat
and Canto Ostinato.
But given your opinions on rhythm and repetition, I
am somewhat surprised you're giving ten Holt a try.
I am more surprised that ten Holt has not garnered
the attention Glass, Reich and others have received.
On Sunday, 5 March 2023 at 09:03:34 UTC+11, number_six wrote:
On Saturday, March 4, 2023 at 4:46:28 AM UTC-8, Dan Koren wrote:
On Friday, March 3, 2023 at 7:00:08 PM UTC-8, Dan Koren wrote:
Simeon ten Holt
A shorter, more modest work: only 2 pianos
and lasting barely one hour and four minutes.
It leaves Glass in the dust!
My top recommendations would be Lemniscaat
and Canto Ostinato.
But given your opinions on rhythm and repetition, I
am somewhat surprised you're giving ten Holt a try.
I am more surprised that ten Holt has not garnered
the attention Glass, Reich and others have received.
I rather enjoy good minimalism.
Ray Hall, Taree
Working through Szell complete Columbia Album collection.
Working through Szell complete Columbia Album collection.
Maybe I'll comment on individual discs some day. But overall it seems
that Szell sounds like he takes on the music at the phrase level, that
is individual phrases constitute a self-contained unit of music. The
result makes the large-scale structure of the work very clear, at the
expense of losing the dramatic sweep - contrast that with Ormandy,
Karajan, and Furtwangler. So much so I would guess that there are
splices where phrases end, as it sounds like there are small gaps in
the performances.
On Sunday, 5 March 2023 at 06:31:39 UTC, raymond....@gmail.com wrote:
I rather enjoy good minimalism.
Ray Hall, TareeThe closest I come to minimalism is Garage music, which I greatly enjoy. Nobody believes I prefer this to Mahler....
Turn it up loud and enjoy......
https://www.youtube.com/watch?v=L6JCmRh2gCQ
On 2023-03-07 21:28:19 +0000, James Goodzeit said:
Working through Szell complete Columbia Album collection.
Maybe I'll comment on individual discs some day. But overall it seemsI heard someone on the radio years ago talking about the Szell/Serkin
that Szell sounds like he takes on the music at the phrase level, that
is individual phrases constitute a self-contained unit of music. The result makes the large-scale structure of the work very clear, at the expense of losing the dramatic sweep - contrast that with Ormandy, Karajan, and Furtwangler. So much so I would guess that there are
splices where phrases end, as it sounds like there are small gaps in
the performances.
Brahms 2nd, describing that they worked in "blocks of sound" building
and taking down phrasing. Your "music at the phrase level" sounds like
a analogous response.
-Owen
_Sand_ by Scott Fields (originally from Chicago, passing through
the AACM jazz tradition there), performed by his Ensemble in Koeln:
https://relativepitchrecords.bandcamp.com/album/sand
Per _Seven Deserts_, an album by Fields on New World Records that I'd mentioned earlier on this group (& that did seem to receive at least
some positive response here at the time...), I believe the recording
is actually of 9 versions of the same composition _Sand_.
They can sound quite different though, and it's the sort of textural negotiation, in the case of _Sand_ involving three voices as well
(with English lyrics that can nonetheless come off as nonsense...),
that I find appealing. One could parse Fields' compositional
modularity e.g. through Cecil Taylor....
I'll probably write a longer review on my site in the next week or
two....
So (excuse my ignorance), I see there is a conductor. Does the
conductor choose the ingredients and then rehearse tthe selection?
It seems that with 20 performers it would be hard to make decisions
in real time. Could anyone other than the composer perform this?
On Wednesday, March 8, 2023 at 10:07:26 AM UTC-5, Owen Hartnett wrote:
On 2023-03-07 21:28:19 +0000, James Goodzeit said:>> > Working through
Szell complete Columbia Album collection.> >> > Maybe I'll comment on
individual discs some day. But overall it seems> > that Szell sounds
like he takes on the music at the phrase level, that> > is individual
phrases constitute a self-contained unit of music. The> > result makes
the large-scale structure of the work very clear, at the> > expense of
losing the dramatic sweep - contrast that with Ormandy,> > Karajan, and
Furtwangler. So much so I would guess that there are> > splices where
phrases end, as it sounds like there are small gaps in> > the
performances.
I heard someone on the radio years ago talking about the Szell/Serkin>
Brahms 2nd, describing that they worked in "blocks of sound" building>
and taking down phrasing. Your "music at the phrase level" sounds like>
a analogous response.>> -Owen
Interesting. I wonder if that refers to the way Szell rehearsed his orchestra, or is it the mixing/editing phase.
It sounds to me that it was Szell's approach to the music -- it's
pretty much evident (to me, at least) through most of his work. After thinking of this for a while, instead of "blocks" or "phrases," you
might substitute the words "energy" or "tension".
-Owen
Delibes' ballet music is really the best.
Sorabji. Lots to listen to.
On Friday, March 3, 2023 at 5:39:15 PM, deekay wrote:
Sorabji. Lots to listen to.
Barf. teedee couldn't abide; I can't either.
Hellendaal: Six Grand Concertos opus 3.
La Sfera Armoniosa, conducted by Mike Fentross.
On Challenge Classics. Hellendaal was a contemporary
of C.P.E. Bach. His concertos are in the style of Corelli
and Handel, written around 1758 (which is after Handel's
death). The music is very nice but not very distinctive, the
performances are nice but not superb, the recording is really
good. All in all: quite fine, but C.P.E. Bach this is not.
https://www.youtube.com/watch?v=TiHTVlTuvYA
Bassoonist Johnny Reinhard with his "microtonal masterpiece" bassoon
solos, compiled from over his career -- a variety of composers:
https://johnnyreinhard.bandcamp.com/album/johnny-reinhard-acoustic-bassoon-artist-2023-georg-friedrich-haas-julio-estrada-peter-thoegersen-joseph-pehrson-anton-rovner-liviu-danceanu-ivan-wyschnegradsky-dune-malague-a-fantasy-american-fes
(Sorry about the crazy title. The URL does indeed end w/ 'fes'.)
The 2nd track is more tuneful (Latin/Mexican...) than the 1st track,
if that's a consideration....
Three 20th c. harpsichord concertos with Mahan Esfahani and the Prague RSO, Alexander Liebreich c. (Hyperion CDA68397)absorbing and fun. Completely apt for the harpsichord too.
Martinu H246: I had always thought of this as "generic Martinu" (there's a lot of that), but with a close listen I can see there are distinctive ideas at play. It's actually a nice piece, one I would happily hear again from time to time.
Krasa: The big discovery on this disc. What a wonderful little concerto (Kammermusik for harpsichord and 7 instruments)! The word that springs to mind is "charming", not a surprise I suppose from the composer of Brundibar. Still, it's inventive,
Kalabis, op 42: He was married to Zuzana Ruzickova, and this was written for her. It's a bit abstract, more modernist than the other two. I found it to be lucid (easy to follow and make sense of) and very well constructed if not always engaging. MaybeI need more listens.
The performances are excellent. I haven't heard Esfahani in Bach, and from this disc I'm not sure he would be a high choice, but his agogics are perfect for the phrasing of these more contemporary pieces. He is exceptionally dexterous in works thatdemand it. Above all, his harpsichord is the sweetest-sounding instrument I think I've ever heard (that was a harpsichord). Far from Beecham's two skeletons copulating on a tin roof, this sounds like wind chimes on a breezy summer day (copulating on a
Strongly recommended.
Hellendaal: Six Grand Concertos opus 3.
La Sfera Armoniosa, conducted by Mike Fentross. On Challenge Classics. Hellendaal was a contemporary of C.P.E. Bach. His concertos are in the style of Corelli and Handel, written around 1758 (which is after Handel's death).
The music is very nice but not very distinctive, the performances are nice but not superb, the recording is really good.
All in all: quite fine, but C.P.E. Bach this is not.
https://www.youtube.com/watch?v=TiHTVlTuvYA
Konstantin Scherbakov’s Beethoven 32 Sonatas on the Steinway label.
I have been returning to the following, which I cordially dedicate
to the six or so persons who keep this newsgroup going:
<https://www.youtube.com/watch?v=2k_6_XZ1b4I>
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