Started by DavidW, July 14, 2009, 08:39:17 AM
0 Members and 1 Guest are viewing this topic.
Quote from: Brian on July 23, 2009, 09:24:30 PMlistening to this Dausgaard recording of the Beethoven Seventh, I really feel not merely as if I am listening to this music for the first time - but as if it is being played for the first time.
Quote from: Brian on July 23, 2009, 09:24:30 PMBEETHOVEN | Symphony No 7 [....]
Quote from: Brian on July 23, 2009, 09:24:30 PMThe answer is, unequivocally, yes. Thomas Dausgaard's recording with the Swedish Chamber Orchestra
Quote from: k a rl h e nn i ng on July 24, 2009, 05:43:13 AMIncidentally, I am a little nonplussed at all the love the Fifth is not getting these days . . .
Quote from: Sergeant Rock on July 24, 2009, 08:48:52 AMOverexposure? Familiarity breeds contempt?
Quote from: k a rl h e nn i ng on July 24, 2009, 08:51:49 AMHappily, the Opus 67 is fiery enough, that it's one piece WCRB (the soundtrack to dentists' waiting rooms in Boston) never overplays
Quote from: Sergeant Rock on July 24, 2009, 08:08:21 AMThe entire cycle sounds (reads rather, I haven't heard any of it) great. Most of the discs are rated 10/10 at the Hurwitzer's place. But this slight slight has me worried (because I love the horn):The horns, so important in this music, are not so forward as they are in recordings by Wand, Bernstein, and Barenboim (and this tells at the end of the first movement), but you do hear them play entire tunes (including the first movement's main theme) when they get them, not just "highlights", as with the Berlin Philharmonic under Karajan or Abbado.So, Brian, are the horns really that backward in the mix (I'm a huge fan of Barenboim's recording)? Something I should worry about?Sarge
Quote from: Brian on July 23, 2009, 09:24:30 PMGardiner's performance is with a bigger band in much more "present" sound, but I found that, when I cranked the volume up for Hogwood, it did indeed reveal a more individual, colorfully period-instrument sound.
Quote from: Dana on July 28, 2009, 12:38:13 AM Listened to Brahms Clarinet Quintet by the Borodin Quartet and Mozgovenko last night. I never used to play favorites, but after two years of knowing this work, I gotta say that if I could only listen to one work of music for the rest of my life on continuous loop, this would be it, especially the 2nd and 4th movements.
Quote from: ChamberNut on July 28, 2009, 04:20:31 AMBTW - the four late clarinet works by Brahms are all beautiful, wonderful works (Trio and two sonatas).
Quote from: Dana on July 28, 2009, 07:48:49 AMI know, thank God for Muhlfeld, right?
Quote from: opus106 on August 03, 2009, 08:08:13 AMDoes anyone feel that there is some sort of "connection" between Mozart's C minor string quintet (No. 2) and Beethoven's piano concerto in the same key (No. 3)? The last movements especially. I was playing the quintet (Movt. III) in my head this afternoon -- yes, it's started to work again, though not as prodigiously as it used to -- and subconsciously the music transitioned into Beethoven's.I have read that B. modelled his concerto after Mozart's No. 24, but I have never come across anything about the quintet in this regard.
Quote from: Dana on August 03, 2009, 09:04:45 PM There's certainly a lot of similarity between the two works in terms of the way they treat the key - with an incredible amount of gravity that one rarely finds anywhere else in their music. Also, in the thematic treatment in the first movements - both opening simply enough with a presentation of the minor triad: simple, and to the point. I can't comment on the specifics though, since it's been years since I was acquainted with the quintet.
Quote from: ChamberNut on August 04, 2009, 03:37:22 AMDid you also know that the string quintet is actually a reworking of the Serenade for Winds in C minor, K.388?
Page created in 0.034 seconds with 23 queries.