The Classical Chat Thread

Started by DavidW, July 14, 2009, 08:39:17 AM

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eyeresist


Karl Henning

Quote from: eyeresist on August 30, 2012, 06:22:20 PM
Oh, you'll rue that in a few years ;)

Well, time was when the music of neither Mahler nor Bruckner did much for me. FWIW, it was (eventually) the former whose symphonies I took to first; nor have I reached any point of tiring of them. But in the past six months, of the two, I've been listening to Bruckner more.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

jlaurson



http://ionarts.blogspot.com/2012/09/listen-up-remembering-fischer-dieskau.html


Quote
A Voice from Ruins
An appraisal of Dietrich Fischer-Dieskau


When Dietrich Fischer-Dieskau passed away this year, there were few superlatives raining down on him in obituaries that hadn't already been used during his lifetime. He was one of three or four giants in classical music who were able to shape the cultural landscape — and he was the last one. Dietrich Fischer-Dieskau need not have been your favorite singer in order to acknowledge his greatness and importance.

Like Herbert von Karajan and Leonard Bernstein, Fischer-Dieskau arrived right at the time when recording technology allowed for the easier-than-ever dissemination of music, when competition was limited, and when classical music still defined mainstream culture, even for those who didn't much care for it. With some four hundred records to his name, Fischer-Dieskau became one of the most recorded singers of all time. In Germany he is called Der Jahrhundertsänger — literally that's "singer of the century," or "hundred-year singer," although neither translation does justice to the air of veneration the term connotes. His complete recordings of Schubert, Schumann, Liszt, Wolf, Beethoven and Brahms and copious doses of other, less well-known Lieder composers were the record collector's natural (and often sole) choice. There are few classical-music listeners above the age of thirty-five for whom Fischer-Dieskau's interpretations of this repertoire didn't leave the emotional footprint of first exposure.

The quantity and, at its best, quality, intelligence and matter-of-course-ness of his Lieder singing made German art songs known, even popular, in non-German-speaking countries. American critics, marveling at the quality of his Lied interpretations, were more reserved in their Fischer- Dieskaumania than their German and English colleagues, but not by much. Harold C. Schonberg called him "the most protean singer alive today," saying he was "acknowledged to be the greatest of contemporary lieder singers [who] has triumphed in opera . . . from Handel to Henze [and] a stalwart in oratorio work." Donal Henahan referred to Fischer-Diesk...

Karl Henning

God bless Brilliant Classics, but Lawd knows I don't need a 37-CD box of Boccherini.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot



eyeresist

Quote from: karlhenning on September 04, 2012, 09:58:34 AMGod bless Brilliant Classics, but Lawd knows I don't need a 37-CD box of Boccherini.

:D

How about a hole in the head, instead?



Todd

Don't know if this has been mentioned anywhere, but the ClassicsToday "Insider" content, at least the text, appears to be freely available by simply performing a basic search of the word "reference" (or whatever other key word you may fancy) in the main site search box. 
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya




Opus106

A 'budget' re-release that discusses parts of the score in the notes -- and in more than one language!!!

https://outhere-music.com/store-REW_504/Joseph_Haydn-Trios_for_Nicolaus_Esterhazy-Rincontro.html (scroll down a little to find the fancy online booklet viewer)
Regards,
Navneeth


Karl Henning

Quote from: Opus106 on November 12, 2012, 06:36:48 AM
Ambitious? Quixotic? Meaningless?

Well . . . what could "a major work in response to Beethoven's Ninth" mean?
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Opus106

Quote from: karlhenning on November 12, 2012, 10:12:22 AM
Well . . . what could "a major work in response to Beethoven's Ninth" mean?

Precisely. Hence my last question. Does it even have a meaning?
Regards,
Navneeth

Karl Henning

For this composer, no. For the people funding the commission . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Brian

Quote from: karlhenning on November 12, 2012, 10:17:35 AM
For this composer, no. For the people funding the commission . . . .
It could be like the 1928 Columbia competition to complete Schubert's Unfinished Symphony, which resulted in pretty much every composer violating the rules.

PaulR

Quote from: karlhenning on November 12, 2012, 10:12:22 AM
Well . . . what could "a major work in response to Beethoven's Ninth" mean?
A symphony that extols the ideas of universal hatred and separation?  (as opposed to universal brotherhood)