Quote from: Todd on Today at 06:30:02 AMI've heard BBC announcers pronounce Don Quixote as Don Kwix-it. Per GMG, BBC announcers are unprofessional.
Quote from: Luke on Today at 06:52:50 AMI'm glad you say that. I certainly prefer it, but I've always suspected I just imprinted on it early. It certainly has the violence you mention, which makes these events stand out from that fascinating background of long held, amorphous harmonies all the more colourfully. I've just been looking through the score again. It really is the most extraordinary thing - mind boggling to look at, let alone to imagine mastering.
Quote from: (poco) Sforzando on Today at 06:38:38 AMYes, but they're British.
Quote from: (poco) Sforzando on Today at 06:45:28 AM...he... lists Boulez as one of three composers we can live without.
Quote from: (poco) Sforzando on Today at 06:45:28 AMThe first recording with Lukomska is the most violent, and in my opinion the best of his three.
Quote from: Luke on Today at 06:35:52 AMApologies to all for digging back over three months, but it seems I haven't looked at this thread in all that time, and returning to it do want to say to @Brian, if he's still interested in Boulez recommendations:
Pli Selon Pli. I love other Boulez scores very much, including the ones Karl mentioned and plenty more, but nothing matches this one for me. It's a personal thing for me - as a (probably very odd teenager) I used to repeat-listen to B's recording with Halina Lukomska, spinning my vinyl copy late at night and in the dark. Its form is unique and spellbinding. We start with Don, and one of the great openings - a shockingly abrupt chord from everyone, followed by an exquisite, mystical and very melodic statement of the first line of the Mallarme poem being set. And then - there's no other word for it, but it's the word I always reach for in talking about this piece - the music retreats into a non-verbal state of nascence. We are taken into a primal word of resonances and drone, punctuated by clattering outbursts of xylophone, screams from a solo cello etc etc.... We are led on a long, slow procession through these various musical events, as if in a dark night of the soul. The process is repeated in reverse in the last section of the piece, Tombeau, so that the music ends with emergence into vocal clarity (just for the last word) and a final, slashing chord. In between those delicately scored Improvisations which are among Boulez's most beautiful things. #
OK, I couldn't really go without making that recommendation - sorry for the interruption, do carry on....
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