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July 23, 2021, 03:48:46 pm
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 1 
 on: Today at 02:11:29 pm 
Started by Albion - Last post by Albion
Creepy picture!

Creepy party! Probably best not to accept that particular invite and plead prior engagement (e.g. cleaning oven)...

 Shocked
Grin Yes, or awaiting boiler repair man!

Didn't think anyone could repair Fanny Cradock...



...but clearly there's hope yet.

 Wink

 2 
 on: Today at 01:59:27 pm 
Started by Albion - Last post by Albion
Via another thread, member Chris Howell has alerted us to his series of extremely valuable articles on Charles Villiers Stanford:

1. http://www.musicweb-international.com/classrev/2018/May/Stanfordian_thoughts_1.pdf

2. http://www.musicweb-international.com/classrev/2018/Jun/Stanfordian_thoughts_2.pdf

3. http://www.musicweb-international.com/classrev/2018/Jul/Stanfordian_3_VC2.pdf

4. http://www.musicweb-international.com/classrev/2018/Jul/Stanfordian_thoughts_4.pdf

5. http://www.musicweb-international.com/classrev/2018/Aug/Stanfordian_thoughts_5.pdf

6. http://www.musicweb-international.com/classrev/2018/Sep/Stanfordian_thoughts_6.pdf

7. http://www.musicweb-international.com/classrev/2018/Nov/Stanfordian_thoughts_7.pdf

8. http://www.musicweb-international.com/classrev/2018/Dec/Stanfordian_thoughts_8.pdf

9. http://www.musicweb-international.com/classrev/2019/Jan/Stanfordian_thoughts_9.pdf

 3 
 on: Today at 01:39:07 pm 
Started by Albion - Last post by Albion
The cycle of string quartets (plus the two string quintets) is unreservedly welcome.

As for the partsongs, while of course any disc that introduces new Stanford to CD has to be welcomed, I had the feeling that an opportunity had been missed. I wrote about all this at (perhaps too great) length when the disc came out - http://www.musicweb-international.com/classrev/2018/Dec/Stanfordian_thoughts_8.pdf - so I will only repeat my disappointment at the cherry-picking selection and higgledy-piggledy order, and note that, when an alternative performance exists (not necessarily currently available), it is often preferable.

That's a brilliant and highly informative survey, thanks Chris. Yes, I would prefer groups of pieces such as the Elizabethan Pastorals to be recorded in toto across a series of volumes. Still I think the Somm disc is a valuable effort and will prove an introduction into Stanford's choral world away from the church for many listeners.

 Smiley

 4 
 on: Today at 01:13:46 pm 
Started by Albion - Last post by Chriskh
The cycle of string quartets (plus the two string quintets) is unreservedly welcome.

As for the partsongs, while of course any disc that introduces new Stanford to CD has to be welcomed, I had the feeling that an opportunity had been missed. I wrote about all this at (perhaps too great) length when the disc came out - http://www.musicweb-international.com/classrev/2018/Dec/Stanfordian_thoughts_8.pdf - so I will only repeat my disappointment at the cherry-picking selection and higgledy-piggledy order, and note that, when an alternative performance exists (not necessarily currently available), it is often preferable.

 5 
 on: Today at 11:35:02 am 
Started by Albion - Last post by Lionel Harrison
Creepy picture!

Creepy party! Probably best not to accept that particular invite and plead prior engagement (e.g. cleaning oven)...

 Shocked
Grin Yes, or awaiting boiler repair man!

 6 
 on: Today at 10:14:50 am 
Started by Albion - Last post by Albion
Creepy picture!

Creepy party! Probably best not to accept that particular invite and plead prior engagement (e.g. cleaning oven)...

 Shocked

 7 
 on: Today at 09:22:49 am 
Started by Albion - Last post by Lionel Harrison
Alain Lefèvre (1962), Arthur Bird (1856), Ben Weber (1916), David Noon (1946), Edith Sohlström (1870), Eduard Marxsen (1806), Edward Gregson (1945), Erich Itor Kahn (1905), Ettore Pozzoli (1873), Ferran Cruixent (1976), Francesco Cilea (1866), Franz Berwald (1796), Georges Hugon (1904), Géza Zichy (1849), James Hannigan (1971), Jerome Rosen (1921), Jostein Stalheim (1960), L. Subramaniam (1947), Narong Prangcharoen (1973), Niels Peter Jensen (1802), Oriol Cruixent (1976), Richard Hol (1825), Robert Lowden (1920), Søren Nils Eichberg (1973), Steven L. Rosenhaus (1952), Taisto Wesslin (1941), Timothy Swan (1758), Walter Burle Marx (1902)

Yep, raise a glass and let the fun begin...



...after its own fashion.

 Cheesy

Creepy picture!

 8 
 on: Today at 05:52:48 am 
Started by Albion - Last post by Albion
Alain Lefèvre (1962), Arthur Bird (1856), Ben Weber (1916), David Noon (1946), Edith Sohlström (1870), Eduard Marxsen (1806), Edward Gregson (1945), Erich Itor Kahn (1905), Ettore Pozzoli (1873), Ferran Cruixent (1976), Francesco Cilea (1866), Franz Berwald (1796), Georges Hugon (1904), Géza Zichy (1849), James Hannigan (1971), Jerome Rosen (1921), Jostein Stalheim (1960), L. Subramaniam (1947), Narong Prangcharoen (1973), Niels Peter Jensen (1802), Oriol Cruixent (1976), Richard Hol (1825), Robert Lowden (1920), Søren Nils Eichberg (1973), Steven L. Rosenhaus (1952), Taisto Wesslin (1941), Timothy Swan (1758), Walter Burle Marx (1902)

Yep, raise a glass and let the fun begin...



...after its own fashion.

 Cheesy

 9 
 on: July 22, 2021, 09:43:06 pm 
Started by Gauk - Last post by Lionel Harrison
Very true - my first acquaintance with the music of Weinberg was the old Melodiya-HMV issue of his violin concerto and 4th symphony under the name Vainberg, and so I always thought of him as Vainberg for many years thereafter. Even after understanding the truth about Mieczysław Weinberg as a put-upon Polish-born composer of Jewish descent, I was always a little sorry about the absence of Moshei Vainberg!

My relationship with Weinberg's music began in a very similar way to yours, except in my case it was Timofei Dokshizer's LP of the Trumpet Concerto with the Bolshoi Theatre Orchestra under Alois Zuraitis, which was also issued as being by Vainberg (and which credited the soloist as 'Timothy Dokshitser'!) I was confused for years (and still am about so many things, although not about Vainberg/Weinberg).  Smiley

 10 
 on: July 22, 2021, 09:02:30 pm 
Started by Gauk - Last post by Gauk
Very true - my first acquaintance with the music of Weinberg was the old Melodiya-HMV issue of his violin concerto and 4th symphony under the name Vainberg, and so I always thought of him as Vainberg for many years thereafter. Even after understanding the truth about Mieczysław Weinberg as a put-upon Polish-born composer of Jewish descent, I was always a little sorry about the absence of Moshei Vainberg!

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