Hola

[Harry]

Indeed, Harry!  A film with lines like, "If meaningless sex is what you want, why can't you have it with me?" is a force to be reckoned with!

I saw this film many times, and still its new everytime to me, and that line is indeed wonderful.

[Haffner]

Andy....your girl is also tall, in loving you.............. 0:)

She is, and I'm no Don Giovanni. I'm only a "cad" online  0:) 0:).

[Sergeant Rock]

I'll see y'all later. We're off to Ludwigshafen to hear Sallinen, Sibelius, and Svendsen.

Sarge

[bhodges]

I'll see y'all later. We're off to Ludwighafen to hear Sallinen, Sibelius, and Svendsen.

Sarge

Ah, "the three S's."     Please report back...

--Bruce

[Sergeant Rock]

Ah, "the three S's."     Please report back...

--Bruce

More fun than the three B's!

Sarge

[bhodges]

More fun than the three B's!

Sarge

Unless they are Berg, Birtwistle and Bruckner...

--Bruce

[Haffner]

I'll see y'all later. We're off to Ludwigshafen to hear Sallinen, Sibelius, and Svendsen.

Sarge

I am very envious. Living in Germany and with such terrific music. Sigh...

[knight66]

David, Cool beans!!!!!!!!!!!

Mike

[DavidW]

Anyhoo, Hola David! And please, grab the Fischer set of Haydn Symphonies!

Oh yes I have 'em.  Really nice, especially the early symphonies.  I always clubbed teased D about him not liking the Philosopher, it's a gem imo.

[DavidW]

Yes, Geena Davis and Jeff Goldblum together (he's an alien, she's from the Valley, the phone bills would be murder . . . .)

A particularly outstanding effort by Jim Carrey, too!

"Yes I think I'll have some of that good pie"... Loved that line, it's become an old joke in the family, funny thing is I bet my parents forgot where that came from!

[DavidW]

Hey George, I had that Sibelius 6th and beer last night, well I actually settled on the Segerstam because it was in my main collection (which is alphabetized), while the Blomstedt was in the uncategorized case.

It's amazing how Sibelius can transform the emotional meaning of a few themes and motifs.  It's like he take anything no matter how simple it might sound and make it mean whatever he wants it to mean.  Understated but complex, emotionally riveting music.  It was a good evening.

[George]

Hey George, I had that Sibelius 6th and beer last night, well I actually settled on the Segerstam because it was in my main collection (which is alphabetized), while the Blomstedt was in the uncategorized case.

It's amazing how Sibelius can transform the emotional meaning of a few themes and motifs.  It's like he take anything no matter how simple it might sound and make it mean whatever he wants it to mean.  Understated but complex, emotionally riveting music.  It was a good evening.

Glad it was a good night! I actually find much of Sibelius's music to be quite challenging. I agree that its complex, though with Ashkenazy I "get" it right away, at least emotionally. With Bloomstedt, I miss the emotion, with Ashy, I revel in it. Seems like this is like Medtner, in that it requires repeated listening. 

[Steve]

Glad it was a good night! I actually find much of Sibelius's music to be quite challenging. I agree that its complex, though with Ashkenazy I "get" it right away, at least emotionally. With Bloomstedt, I miss the emotion, with Ashy, I revel in it. Seems like this is like Medtner, in that it requires repeated listening. 

George, it was Askenanazy that brought me into some understanding of Sibelius. His playing is quite as you described, poignant and emotional. Spot on!

[George]

George, it was Askenanazy that brought me into some understanding of Sibelius. His playing is quite as you described, poignant and emotional. Spot on!

Thanks! 

[DavidW]

Thank you everyone.  Gurn, I'll get back to you on the Vanska later today, and uh George I'll check out that thread.

Why did I say today?  I listened to it this evening. 

I swear each instrument plays in short, discrete intervals.  It draws attention away from the melodies and puts them square on the rhythm.  Especially with those wickedly sharp accents!  The result is that

(a) it makes what is actually a moderate tempo sound very fast.  A nice illusion of urgency.
(b) metronomic, you're just incredibly aware of the tempo throughout the whole symphony.

For me I couldn't emotionally connect to the music when played that way.  It's like Morse code.  It sounds dry and nervous.

And the vocalists are well... plain.

On the bright side, crystal clear recording, I could hear every instrument, I had no problem even in the most busiest sections.  And it was neat for awhile to hear the interplay between the different instruments, almost chamber like dialogue.  It's also nice to not have the strings threaten to drown out all other instruments.

Conclusion:
Dry and nervous sounding recording in brilliant, crystal clear sound.

What was your impression Gurn?  If I'm not mistaken that's your preferred style of music making so I'm guessing big thumbs up?  All I know is there were a few interesting oddities that makes me wonder if Vanska used some unusual edition of the score or made some of his own changes.

[Bogey]

Wow David, your "Hola" thread is almost as popular as the "Listening" one!

[DavidW]

Glad it was a good night! I actually find much of Sibelius's music to be quite challenging. I agree that its complex, though with Ashkenazy I "get" it right away, at least emotionally. With Bloomstedt, I miss the emotion, with Ashy, I revel in it. Seems like this is like Medtner, in that it requires repeated listening. 

I think I'm going to listen to Blomstedt back to back with Bernstein tomorrow.  Should be fun!   I want to see if I hear Blomstedt the way you do.  I don't have Ashkenazy, but Bernstein=wild, passionate to my ears, so for me I think I have the right comparison to make.

[George]

Why did I say today?  I listened to it this evening. 

I swear each instrument plays in short, discrete intervals.  It draws attention away from the melodies and puts them square on the rhythm.  Especially with those wickedly sharp accents!  The result is that

(a) it makes what is actually a moderate tempo sound very fast.  A nice illusion of urgency.
(b) metronomic, you're just incredibly aware of the tempo throughout the whole symphony.

For me I couldn't emotionally connect to the music when played that way.  It's like Morse code.  It sounds dry and nervous.

And the vocalists are well... plain.

On the bright side, crystal clear recording, I could hear every instrument, I had no problem even in the most busiest sections.  And it was neat for awhile to hear the interplay between the different instruments, almost chamber like dialogue.  It's also nice to not have the strings threaten to drown out all other instruments.

Conclusion:
Dry and nervous sounding recording in brilliant, crystal clear sound.

What was your impression Gurn?  If I'm not mistaken that's your preferred style of music making so I'm guessing big thumbs up?  All I know is there were a few interesting oddities that makes me wonder if Vanska used some unusual edition of the score or made some of his own changes.

I can say that I also wasn't moved by the Vanska. M a r k had alerted me to it because he didn't get the hype about it, so I tried it and agreed with him. 

[George]

I think I'm going to listen to Blomstedt back to back with Bernstein tomorrow.  Should be fun!   I want to see if I hear Blomstedt the way you do.  I don't have Ashkenazy, but Bernstein=wild, passionate to my ears, so for me I think I have the right comparison to make.

That makes sense to me, I await your findings. 

[DavidW]

Wow David, your "Hola" thread is almost as popular as the "Listening" one!

  I somehow haven't seen the listening thread yet.  I imagine Harry keeps it healthy.   I'll check it out and maybe cross post there.