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I’m pleased.

We should discuss it together systematically, chapter by chapter.

That would be impossible: I went very quickly through, or even altogether skipped, the chapters dealing with the analytical approach. They were too dry, technical and abstract for me.

What I can tell you is that after reading this book (and a few others) I realized that (1) the Romantic philosophy of music is quite at odds with Romantic music, (2) I love the latter but don't subscribe to the former and (3) for all their anti-Romantic utterances the HIP movement carries a lot of Romantic ideological baggage and in a sense it can be even seen as the ultimate triumph of the Romantic philosophy of music. If you are interested in discussing these points I'll try to elaborate them.
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The Diner / Re: What are you currently reading?
« Last post by Florestan on Today at 10:58:44 PM »
Does Florestan read this thread?

He does, when he is able to access GMG.

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A Romanian novel was recently sent to me - The Life and Opinions of Zacharias Lichter, by Matei Calinescu - and I have no idea what to expect from it.

I haven't read it but I remember it having been praised rather highly by the Romanian literary critics --- which is perhaps unsurprising and doesn't mean much. Bear in mind it was written in 1969 so it probably contains arcane allusions to, and hidden criticism of, the political regime back then. I'll try to read it myself.
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The Diner / Re: Last Movie You Watched
« Last post by -abe- on Today at 10:53:57 PM »
Strangers On a Train



It's been almost 15 years since I've first seen this, and I liked it better the second time around. It was more lighthearted than I remembered.  For its duration I was confusing the actor who played the villain with Robert Mitchum, but it was actually a guy named Robert Walker who died the same year the film was released at age 32.

https://en.wikipedia.org/wiki/Robert_Walker_(actor,_born_1918)

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General Classical Music Discussion / Re: What are you listening to now?
« Last post by Traverso on Today at 10:35:46 PM »
Mozart

CD 1

Violin Concertos  Zehetmair



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A thrilling work that I’m surprised isn’t better known. Shostakovich’s writing for voices is tremendously powerful. I particularly like the folk-like and “Russian Orthodox” sections of the work, which contrast with the more dramatic sections.

I agree and Kondrashin is my favourite conductor of Shostakovich and Miaskovsky.
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Wiren: Oscarsbalen Ballet Suite - Norrkoping Symphony Orchestra.



Music to accompany three quarter shanking your pointe shoes with two parts aggression and perhaps one part Milhaud?  ;D

That's a very nice CD. I like the 4th Symphony in particular.
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General Classical Music Discussion / Re: What are you listening to now?
« Last post by Que on Today at 09:17:13 PM »
Morning listening:


Q
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Great Recordings and Reviews / Re: Bach Goldberg Variations
« Last post by Mandryka on Today at 08:41:00 PM »
From the booklet essay by the organist Christian von Blohn

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The pieces Gould sometimes played prestissimo seem diametrically opposed to Bach’s conception of ‘cantabile playing’, as does the fact that digesting this complex and extremely dense music requires a correspondingly gen- erous amount of time, as prominent musicians from Albert Schweitzer to Sergiu Celibidache repeatedly cautioned when discussing performances reflecting the spirit of the age in seemingly attempting to break the speed record.

Wolfgang Rübsam’s account should not, therefore, be regarded as just one more among many. Rather, in many respects, it does something fundamentally new. His is an almost pioneering attempt to make this complex music more transparent and easy to understand, while constantly surprising the listener with arpeggiated, ‘lute-like’ playing. Rübsam varies the repeats in accordance with contempo- rary practice. His use of the lute-harpsichord built to period specifications by Keith Hill is a special highlight. Its gut strings produce a soft but resonant tone which greatly assists the cantabile delivery mentioned earlier. The fact that Bach himself is documented as having owned at least two of these instruments (which unfortunately have not survived) gives the whole enterprise added legitimacy




Is the way he plays it - tempo, voicing, ornamentation (but especially voicing) - necessary, an option or a deformation?


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General Classical Music Discussion / Re: What are you listening to now?
« Last post by Madiel on Today at 08:37:31 PM »
Brahms - Symphony no. 1:



This is a work that I feel doesn't quite live up to the magnificent opening, though some parts in the finale come close. My main problem with this work is that the orchestration is simply too heavy - while his three later symphonies are not necessarily masterpieces of orchestration, there's a definite improvement in that department, as there are more moments with air in the textures. But perhaps my impression has to do with the rather homogenized nature of this recording and - to a lesser extent - the performance. For example, the timpani at the beginning and the solo violin in the slow movement are simply too recessed in the audio balance. Karajan is undoubtedly an authoritative Brahmsian, and he gets a big, calorific sound from the BPO, but in the end I think I prefer a more detail-oriented, "chamber music" approach to these symphonies. I hope I didn't sound overly critical; I guess I'm just especially picky about my Brahms!

I don't know the recording, but I can imagine Brahms + Karajan being rather too thick.

Chailly's set is the one I went for. Not heavy.
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This is a new box from a reliable seller.

https://www.ebay.nl/itm/A-secret-Labyrinth-Huelgas-Ensemble-Nevel-15-CD-BOX-SET-SONY-SEALED/323339243353?hash=item4b48854f59:g:LQgAAOSw3ZRY9zmC

Thank you sir! Actually it is still too expensive, as we just got back from three weeks of vacation in Sonoma wine country and the north and central coast (California) and we spent waaaay too much money! (although I am not dumb enough to go into debt for it!)

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