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1  Little-known music of all eras / Youtube performances / Re: Dimitry Yavtuhovich's "Aivazosvky at Feodosia" on: April 15, 2019, 02:04:16 pm
Thank you very much for this music  :-)

Aivazovsky was the Crimean Turner - his seascapes are held in high esteem.

2  Little-known music of all eras / Youtube performances / Re: remus platen youtube channel on: April 03, 2019, 06:24:57 pm
A woefully underrated composer. Toccata Classics are recording all of his piano concertos.

Good to hear!  If only his executors would ease-up on their excessive Performing Rights demands, his music might be heard more often  (as I frequently mention here).
3  Little-known music of all eras / Youtube performances / Re: remus platen youtube channel on: April 03, 2019, 03:16:51 pm
Thank you for this suggestion!  There are, indeed, many recordings ofrare piano concertos of the 20th century. I was very happy to find Krenek's PC No 2 there  Smiley
4  About music in general / The listener / Re: Cd Collections: "Collecting Mania" ? on: March 23, 2019, 09:45:06 pm
(The lack of needing to pay "star performer" fees probably helps here!)

I have my own doubts about that (see earlier). I am not sure music is well-served when recorded in a slapdash fashion by a no-name orchestra from a provincial town in Bulgaria. Especially when you can hear distant aircraft flying overhead during the pianissimo moments.  The music is placed at an automatic disadvantage.  Some would say 'we're lucky to have any kind of recording', of course. Then again, people said we were lucky to have ersatz chicory 'coffee' to drink during post-WW2 rationing, too....
5  About music in general / The listener / Re: Cd Collections: "Collecting Mania" ? on: March 23, 2019, 09:31:52 pm
I think you've been admirably clear on the various merits of styles of collecting, Colin  :-)  I entirely understand and sympathise with the rationale behind your collection, although it's not been the way I've approached music appreciation myself  Smiley

Another aspect of multiple interpretations opens up - within a particular repertoire - with questions of 'Historically Informed Performance'.  I am old enough to have collected vinyl (!) back in the days when a new release from Concentus Musicus on Das Alte Werke was an immediate but necessary drain on my student funds.  Of course, those sterling performances were the ne plus ultra of their day - but have since been superannuated by still finer and subtler interpretations.  Reproductions of historic instruments have become objectively better over time  (it's easier, ehem, to play in tune on them!), and performance practice has moved on.

I was abruptly reminded of how much progresss has been made two weeks ago, when Minkowski arrived here with his Musiciens du Louvre for an all-Rameau program (played, ehem, live in the Tchaikovsky Concert Hall). Not only was the lustrous quality of intrumental timbre in full evidence - we had all the benefit of knowledge about notes inegales ('bending' the groups of quavers and semiquavers into a less 'four-square' pattern - CPE Bach discusses it at length...)  I was still carrying around in my mind the well-intentioned (but horribly out-of-tune) recordings made by Jean-Claude Malgloire in the 1980s, which gave a raucous and rustic rendering to Rameau.  But suddenly we had the full suavety of the Court Of Versailles, and the mismatch between baroque finery and Malgloire's bucolic antics faded away.  (Of course, William Christie does an even better job on this repertoire than Minkowski - but the cost of moving Les Arts Florissants to Moscow for concerts, including ballet and singers, is prohibitive, and they've stopped coming these days).

To take up your point about non-operatic music...  I could easily see a persuasive case for owning recordings of Bach's keyboard works from through the 20th century...   the generation of formidable pianists who played them...  then the first generation of Early Music performers (Tureck, even Dolmetsch..) in parallel with 'informed' performances on pianos by Gould and co...  then on into the next generation of harpsichordists  (Hogwood and his generation) in parallel with modern Bach-playing pianists like Andras Schiff...   and then the super-fashionable 'new harpsichordists' like Jean Rondeau (love him or loath him).

Personally I am glad we no longer have to endure Couperin on the joanna  Smiley  But we would lose something if we jetissoned those pioneering recordings, which paved the way for Rondeau and his contemporaries to fly Couperin's flag for him   Smiley   Some evidence of a Meeting Of Minds can be seen today - Alison Balsom can be found playing Brandenburg 2 on the modern Bb trumpet, but she can play it just as well on a valveless baroque natural trumpet too - and does Smiley
6  About music in general / The listener / Re: Cd Collections: "Collecting Mania" ? on: March 23, 2019, 12:32:19 pm
Would one consciously and deliberately buy and listen to a performance which was "less than satisfactory"?

Perhaps because there are unmissable moments amid others which are less satisfactory?  (Let's not get into performances which have flaws - that's a separate issue).

As you know, I mostly listen to opera only. I can think of numerous opera performances where the orchestral playing and conducting is first-rate - but the soloists are not the cast I would have chosen (even though they may be very famous).  The converse is also true - a top-rate soloist accompanied by a duff orchestra  (increasing the situation with recordings made on-the-cheap with 'good enough' E European orchestras) - who frankly are not good enough, and should never have been recorded for posterity.

These are the reasons I have never collected, and never plan to start - I doubt I have more than 200 discs* in total, and I rarely listen to more than a tiny handful. I don't like the medium of recorded music - it deprives the music of the adrenalin and fascination of a live performance. I have probably spent (wasted?) just as much on going to live concerts (often involving travel to other cities) as I might have done on cds.  But I believe I've had the better bargain out of the expense  Smiley  Verdi's OTELLO in an immersive production by Birmingham Opera, with a cast of no-name soloists, remains one of the best musical experiences I've ever spent cash on Smiley  Another would be the legendary WNO HOUSE OF THE DEAD with Michinson & Clark, conducted by Mackerras, or Jurowsky's Glyndebourne MEISTERSINGER or Josephine Barstow in the ENO LADY MAC

And my happy memories take up no shelf space whatsoever  Smiley  It's a different approach to appreciating music, but it works well for me. You appreciate it more, when you know that when the curtain comes down, it will disappear into the ether.

This week I'm going to Handel's ORLANDO. The tickets have cost us more than a box set of The Ring, but for me, it's a better spend.

* of which at least half were given to me by the performers, so I dare not discard them.

7  Little-known music of all eras / Discussion of obscure composers / Re: Second-Tier English Symphonies on: March 18, 2019, 08:12:48 pm
Yes, dreck. 

Can't you read?
8  Little-known music of all eras / Discussion of obscure composers / Re: Second-Tier English Symphonies on: March 18, 2019, 08:11:33 pm
On a different forum (the BBC R3 Messageboard - closed down by the BBC in a cost-cutting exercise). the member formerly known as 'Sydney Grew' once started a trolling exercise with a topic called 'Composers Variously Rated'.

The gist of this drivel was that it was possible to arrive at as 'scientifically proven' rating scheme for composers - whereby Beethoven and Bach were (without dispute) 'Level One', and so on and so forth down the ladder, until we had Litolff In Level three, but anyone who had ever written an opera but wasnt German (e.g. Saint-Saens) in Level Five  (graded-down for not writing  symphobies or fugal oratorios for Choral Societies)

The topic belonged n the bin from the very outset.  So do topics about putting synphonies into tiers - based purely on the personal bigotry of the assessors. The entire thing simply works to the glorification of self-appointed Cultural Commissars of a Stalinist bent.

I appeal to the moderators to close this topic - which has no place on these message-boards, and frankly should never have started.
9  Little-known music of all eras / Discussion of obscure composers / Re: Second-Tier English Symphonies on: March 18, 2019, 07:24:14 pm

Calyptorhynchus saw these terms and had an emotional reaction to what he projected into my words,

And he was absolutely right.

Ignorant dreck.
10  About music in general / The listener / Re: Russian Symphony Orchestra Society on: February 17, 2019, 03:41:03 pm
Eduard Frantsovitch Nápravník (1839-1916),


Napravnik was Czech, although he spent most of his working career (conducting, primarily - especially for Tchaikovsky) in Russia.
11  Little-known music of all eras / Downloads discussion / Re: Slovak Music on: February 12, 2019, 08:52:20 pm
Thank you for that huge inpur of information about Suchon and his opera.  I fear very few people will have heard this work - which is their loss, as it is a fine piece of work (in my view!)
12  About music in general / Performance and technique / Re: Musical concert security on: February 07, 2019, 01:54:20 pm
Dear Mr Escamilla

Are you a professional liar, or do you just do it as a hobby?

13  Little-known music of all eras / Notice of interesting concerts around the world / Re: Concerto dedicated to London on: January 27, 2019, 07:11:46 pm
What's very strange to me about this promotion is that no program seems to be on offer.

This is a regrettable Russian malaise, and not confined to provincial halls. Here in Moscow, the Philharmonia consider it sufficient to name the performers (with glossy pics), but concerning the program, they write simply 'Beethoven, Chopin' - and you are left to take pot luck. (((

I though it was rather touching that the Yakutsk public are prepared to turn out  (the concert is this week, it hasn't happened yet) to listen to music by the Saintly Sir Edward. 

I wonder how many Londonders would pitch up to hear music by Sakha composers?  Probably none.
14  Little-known music of all eras / Notice of interesting concerts around the world / Re: Concerto dedicated to London on: January 26, 2019, 10:49:32 pm
Anyone n the UK (where many members seem to be located?) unable to make it to Yakutsk (the capital of the Sakha Republic) tomorrow might consider instead a jolly good concert planned at the Royal Festival Hall in London.  Russo-German conductor Vladimir Jurowsky, and a largely E European/German cast, will be presenting DIE WALKURE, with the LPO  (part of the leaving festivities for Jurowsky, who departs next season to take over as MD of the Bavarian State Opera in Munich - Europea's foremost opera theatre of the moment). 

Stuart Skelton tenor, Siegmund
Markus Marquardt bass, Wotan *
Ruxandra Donose mezzo-soprano, Sieglinde *
Stephen Milling bass, Hunding
Claudia Mahnke mezzo-soprano, Fricka
Svetlana Sozdateleva soprano, Brünnhilde

Skelton is in top form, and considered the top Wagnerian tenor in the world, at present.  Sozdateleva makes her Brunnhilde debut at last (she has previously sung Sieglinde in this opera), after her award-winning FIERY ANGEL with Jurowski last year. She will repeat FIERY ANGEL with Jurowski at The Met next year.
15  Little-known music of all eras / Notice of interesting concerts around the world / Re: Concerto dedicated to London on: January 26, 2019, 02:42:31 pm
Ministry oif Culture of the Sakha Republic of Russia
State Philharmonic of the Sakha Republic with the support of the Bishopic of Sakha
30th January 2019 at 18:30   Children's Arts School No 1
Subscription Series No 1 - Musical Capitals of the World
Symphonica Artica Orchestra, conductor Natalya Bazaleva
Program of Haydn, Britten & Elgar
Artistic Director of the Program - State-Honoured Artiste Natalya Bazaleva
Tickets from the Philharmonia at Yaroslavskogo St 27
[names of various sponsors]
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