Started by uffeviking, April 30, 2007, 03:47:43 PM
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Quote from: Todd on May 01, 2007, 08:39:14 AMWhich CD is that? The DG recording uses countertenors. It's superb, but I must say that I'd rather listen to females. (I'm not big on countertenors.)Aside from Three Sisters, I've only heard his Replica, which is very good. He's a superb conductor, too, and recorded my favorite take on Bluebeard's Castle.
Quote from: snyprrr on May 20, 2011, 06:37:41 AM3 Sisters is on Erato.
QuoteThe London Philharmonic Orchestra program last night opened with a UK premiere, "Shadows" by Peter Eötvös. It's sort of a mini concerto for flute, clarinet, a percussionist with snare drum and suspended cymbal, and orchestra. It also calls for a bizarre orchestral layout in which some of the forces sit with their backs to the audience. Here's a diagram:I couldn't figure out why the orchestra was asked to sit like this based on the music itself: to muffle the brass? To divide the strings really dramatically? Aside from placing the solo instruments literally in the center of the ring, there seemed to be no particular aural advantage to this. Since the performance was recorded for a CD, perhaps the CD experience will explain Eötvös' decision.As for the music itself: it fairly clearly was originally a chamber piece; the best movement was scored for flute and clarinet alone. At other points the orchestra interjected Scary Music chords, reminiscent of Jaws or film noir, and there were some interesting coloristic effects – neat sounds being produced by the ensemble as a whole or individual soloists. Still and all, I'm not entirely sure I could deduce from listening why Eötvös actually wrote the piece. My cynical guess is he had a nice chamber duet sitting around and fulfilled a commission by arranging it up (N.B. looking at his website, this guess is wrong; it was originally for the soloists plus a small wind ensemble and handful of strings). It achieved interesting colors and sounds but didn't develop any sort of argument or even conversation.
Quote from: Brian. . . the best movement was scored for flute and clarinet alone . . . .
Quote from: CRCulver on May 20, 2011, 10:04:48 AMIt's on Deutsche Grammophon, a recording in the label's "20/21" series.
Quote from: ritter on June 12, 2020, 02:29:10 AMI first got to know Eötvös's music through his opera Three Sisters (on Chekhov), recorded by DG after the premiere in Lyon in the mid-90s, and then reissued by BMG. One of the great operas of the late 20th century, IMHO.[asin]B007BJOM3Y[/asin]About 5 years ago, I saw Eötvös conduct the Plural Ensemble here in Madrid in his Steine (for chamber ensemble) and his Sonata per sei (a sort of Bartók Sonata for two pianos and percussion gone berserk), and both were quite appealing (the program started with Stockhausen's Kontra-Punkte and Boulez's Improvisations sur Mallarmé 1 & 2, and it was an extraordinary concert). [asin]B00004T74U[/asin][asin]B00HV3W4OO[/asin]There's plenty more Eötvös in my collection, but these are the pieces that come to mind now. I regard him as a great all-round musician, not only as a composer--he maintains a link with the apostles of high modernism of the 50s and 60s, but has a very personal voice--, but also as a conductor (his recordings of e.g. Stravinsky's Les noces and Berio's Sinfonia, are of the highest quality).
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