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#1
General Classical Music Discussion / Re: David Hurwitz
Last post by Florestan - Today at 07:02:07 AM
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. 

I've heard Romanian announcers pronouncing (Victor) Hugo as HEW-go and Richard (Wagner) as Richard [English pronunciation].

And yes, I think both the BBC-ers and the Romanians are unprofessional in such cases.

#2
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.

I don't have a complete 1-volume score of Pli. I have Don and two of the Improvisations, but not Tombeau which I consider the high point of the work (especially the soprano's entrance at the end, with the accompanying horn.) I have many other Boulez scores, including a Marteau which he signed for me the one time I met him at Carnegie Weill Recital Hall following a lovely performance of that work. Elliott Carter, whom I've spoken to a few times, was also in attendance.
#3
I had the Soviet licensed LP of this recording a long time ago, 40 years back, maybe. It sounded so-so, like everything Soviet. Well, what can I say, it was like it was, too late to complain. But interest in Pollini's reading was repulsed for a long time. Now I'm actually discovering it anew. Fabulous.

#4
General Classical Music Discussion / Re: David Hurwitz
Last post by Luke - Today at 06:58:59 AM
Quote from: (poco) Sforzando on Today at 06:38:38 AMYes, but they're British.

Thanks, it is indeed cover against all sins.  ;D
#5
General Classical Music Discussion / Re: David Hurwitz
Last post by Luke - Today at 06:55:42 AM
Quote from: (poco) Sforzando on Today at 06:45:28 AM...he... lists Boulez as one of three composers we can live without.

He's not speaking for me, because I certainly couldn't, and not just for Pli (e.g. I have a sudden urge to listen to Le soleil des eaux again, with its gorgeous, sun-baked opening movement.)  Dare I say that I think Hurwitz is responding to the idea of Boulez rather than to the beauty of much of his actual music?
#6
General Classical Music Discussion / Re: David Hurwitz
Last post by Luke - Today at 06:52:50 AM
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.

I'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.
#7
The Polling Station / Re: "Your Thoughts on AI-Enhan...
Last post by Kozi_9 - Today at 06:52:43 AM
Yes i Love it! Thank you for the idea!☺️🙏
#9
MacMillan: Stabat Mater
The Sixteen/Christophers
#10
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....

I'm glad you brought this up. I consider "Pli" to be Boulez's masterpiece, above the others Karl mentioned save for perhaps "Marteau." And while I've heard all the other Bz pieces mentioned here live, I've never heard "Pli" performed, and Bz never brought it to New York. The first recording with Lukomska is the most violent, and in my opinion the best of his three. To return this to Hurwitz, he constantly denigrates the avant-garde and lists Boulez as one of three composers we can live without. (But if you read his written reviews on Classics Today, you'll find he gives "Sur Incises" a 9/9, and has some praise for "Rituel." Hypocrisy? I wouldn't dream of saying such a thing.)