Started by Todd, April 06, 2007, 07:22:52 AM
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Quote from: Bachtoven on March 13, 2023, 04:01:58 PMHow she can go from Magnus Lindberg's 3rd Piano Concerto (also written for her and I attended the world premiere) to this trite piece is beyond me.
Quote from: Todd on March 13, 2023, 04:10:10 PMMy understanding is that it was a vanity piece written by a friend.
Quote from: Bachtoven on March 13, 2023, 04:30:59 PMI gathered that, too. Doesn't make it any better! It's crappy enough to be a huge hit.
Quote from: Todd on Today at 05:14:58 AMRevisiting the Quatour Diotima's Second Viennese School recordings prompted me to hear them in lesser known fare. For no particular reason, Conrado del Campo got selected. Campo is one of those super-obscure composers who wrote a goodly amount, taught, and then vanished, at least from a distant recording consumer's standpoint. Among his output is either thirteen, fourteen, or fifteen string quartets, depending on internet source. This recording purports to be the beginning of a complete cycle.The recording opens with the Fifth, titled Caprichos Románticos, and the title most assuredly fits. The work, from 1908, possesses a sort of fin de siècle groove I associate with Zemlinksy or early Schoenberg. All six movements are slow, all gorgeous, with nary an ugly note to be heard. The music is not tuneful in the Dvořákian manner, but everything here falls easily, seductively, languidly on the ears. One can hear a variety of influences from the late romantic era, but Campo does sound unique in his ability to deliver so much beautiful slowness up until the more animated ending of the nearly thirteen minute final movement. The only other quartets I am readily familiar with that pull off this feat are Haydn's Seven Last Words and DSCH 15, and those works are very different, indeed. The two minute Third, titled Cuarteto castellano and also from 1908, also sounds mostly slow, but it is more unabashedly romantic, with long phrases, rich harmonics, dramatic dynamic swells. The first movement nearly tips into over-the-top syrupy excess, and it hits the spot while doing so. Forget academic rigor and ideological composition, this is straight for the heart stuff. Yeah. The second movement backs off a bit, but not much. One could never describe this work as being classical or Apollonian in demeanor. I had no expectations going in, and this recording really delivers the goods. The Diotima acquit themselves beautifully, some audible effort notwithstanding. The fact that these are live performances may contribute to that. Hopefully, all the quartets get recorded, and hopefully the Diotima get to do the honors. An unexpected delight.
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