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#1
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by Madiel - Today at 02:47:58 AMQuote from: prémont on Today at 02:18:38 AMDieter Goldmann is a fictitious name. I own one of these budget releases where all three sonatas are attributed to Tomsic. However, I question whether it is her playing the Appassionata Sonata. Indeed, she recorded the Appassionata Sonata for the Koch label, but that is a separate recording. Interestingly, the budget Appassionata is much superior to hers.
The other names I saw attached were Sylvia Capova and Angela Giulini. The latter is fictitious. Capova might be real?
Creating fictional pianists is bizarre. Wasn't Joyce Hatto enough?
#2
Composer Discussion / Re: Elgar's Hillside
Last post by Roasted Swan - Today at 02:38:50 AMJust listened to a disc that ticked several boxes at once in a rather pleasing way;
1) The whole disc is very fine but the coupling of "The Banner of St. George" is enjoyably apt today of all days.
2) An "In Memoriam" for Andrew Davis - this is exactly the kind of recording he did so well. Unfamiliar British music directed with zest and enthusiasm and considerable musical insight. The only other recording was conducted by another great British conductor with very similar qualities - Vernon Handley
3) Both works on this generously filled disc are "early" (pre-Engima - but not by much) and as a composer he will still be tarred with the brush of Imperial jingoism. But listening to these made me ponder on the role of a composer within his society. Surely a successful composer is one who speaks to his audience in a manner that the audience can relate to and understand. A great composer will push the boundaries (or redefine them) for his age. In the late Victorian age before composer royalties of "Performing Rights" if a composer could not sell a work to a publisher and by extension an audience/performers he would be very broke. So why should Elgar - or any composer in a similar position - be criticised or dismissed 125 years later simply for be the sounding board (or mirror - to mix metaphors) for the time in which he lived. Aspects of the libretti of both works sit slightly uneasily today but for me this does not diminish the skill of the musical setting or the sincerity of the writing. And to give these works their best chance they need performances of the commitment and zeal they get here.
Hurrah for Elgar and Hurrah for Andrew Davis......
1) The whole disc is very fine but the coupling of "The Banner of St. George" is enjoyably apt today of all days.
2) An "In Memoriam" for Andrew Davis - this is exactly the kind of recording he did so well. Unfamiliar British music directed with zest and enthusiasm and considerable musical insight. The only other recording was conducted by another great British conductor with very similar qualities - Vernon Handley
3) Both works on this generously filled disc are "early" (pre-Engima - but not by much) and as a composer he will still be tarred with the brush of Imperial jingoism. But listening to these made me ponder on the role of a composer within his society. Surely a successful composer is one who speaks to his audience in a manner that the audience can relate to and understand. A great composer will push the boundaries (or redefine them) for his age. In the late Victorian age before composer royalties of "Performing Rights" if a composer could not sell a work to a publisher and by extension an audience/performers he would be very broke. So why should Elgar - or any composer in a similar position - be criticised or dismissed 125 years later simply for be the sounding board (or mirror - to mix metaphors) for the time in which he lived. Aspects of the libretti of both works sit slightly uneasily today but for me this does not diminish the skill of the musical setting or the sincerity of the writing. And to give these works their best chance they need performances of the commitment and zeal they get here.
Hurrah for Elgar and Hurrah for Andrew Davis......
#3
General Classical Music Discussion / Re: What are you listening 2 n...
Last post by Florestan - Today at 02:24:20 AM
No. 4
#4
Composer Discussion / Re: The British Composers Thre...
Last post by Roasted Swan - Today at 02:24:00 AMQuote from: Luke on Today at 01:45:12 AMNo better St George's Day listening for me, in England, in April, than the overwhelming masterpiece that is April-England, by John Foulds. A piece that gets to the heart of things, one that is always a treat to hear.
Completely agree - genuinely remarkable, occupying a similar landscape - literal and emotional to Bridge's equally masterful Enter Spring.
#5
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by prémont - Today at 02:18:38 AMQuote from: Madiel on Today at 01:52:06 AMIt turns out that the first 3 sonatas line up perfectly with a single album, where Dubravka Tomsic is listed as performing the Moonlight and Pathetique, followed by Dieter Goldmann playing the Appassionata.
So that is almost certainly the origin. Someone put a bunch of albums together, grabbed the name of the pianist on the first one, and, being a lazy so-and-so who probably barely understood classical music, went no further.
EDIT: In fact over the years there seem to be at least THREE different albums of the Moonlight/Pathetique/Appassionata combination where the first two sonatas are Tomsic, and the Appassionata is someone else's. All of them have the sort of cheap reissue look about them.
Dieter Goldmann is a fictitious name. I own one of these budget releases where all three sonatas are attributed to Tomsic. However, I question whether it is her playing the Appassionata Sonata. Indeed, she recorded the Appassionata Sonata for the Koch label, but that is a separate recording. Interestingly, the budget Appassionata is much superior to hers.
#6
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by Madiel - Today at 01:52:06 AMIt turns out that the first 3 sonatas line up perfectly with a single album, where Dubravka Tomsic is listed as performing the Moonlight and Pathetique, followed by Dieter Goldmann playing the Appassionata.
So that is almost certainly the origin. Someone put a bunch of albums together, grabbed the name of the pianist on the first one, and, being a lazy so-and-so who probably barely understood classical music, went no further.
EDIT: In fact over the years there seem to be at least THREE different albums of the Moonlight/Pathetique/Appassionata combination where the first two sonatas are Tomsic, and the Appassionata is someone else's. All of them have the sort of cheap reissue look about them.
So that is almost certainly the origin. Someone put a bunch of albums together, grabbed the name of the pianist on the first one, and, being a lazy so-and-so who probably barely understood classical music, went no further.
EDIT: In fact over the years there seem to be at least THREE different albums of the Moonlight/Pathetique/Appassionata combination where the first two sonatas are Tomsic, and the Appassionata is someone else's. All of them have the sort of cheap reissue look about them.
#7
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by prémont - Today at 01:51:45 AMQuote from: Madiel on Today at 01:47:47 AMYes I know, but what struck me is that none of the individual tracks after the first one have any information. It turns out that this is partially Amazon's fault - their interface is highly clumsy and basically it's suggesting that Beethoven guest stars on the first track along with Tomsic, whereas it's just Tomsic after that. But in addition to that, we are probably dealing with the kind of release where someone entered the absolute minimum metadata they could get away with.
You could be correct. I searched YouTube and discovered that multiple sonatas are attributed to Tomsic. However, it's possible they all stem from this flawed Piano Classics release.
#8
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by Madiel - Today at 01:47:47 AMQuote from: prémont on Today at 01:42:55 AMThis is the heading, hinting at Tomsic for all the tracks:
Beethoven - Piano Classics
Dubravka Tomsic
102 SONGS • 10 HOURS AND 56 MINUTES • MAY 01 2009
Yes I know, but what struck me is that none of the individual tracks after the first one have any information. It turns out that this is partially Amazon's fault - their interface is highly clumsy and basically it's suggesting that Beethoven guest stars on the first track along with Tomsic, whereas it's just Tomsic after that. But in addition to that, we are probably dealing with the kind of release where someone entered the absolute minimum metadata they could get away with.
#9
Composer Discussion / Re: The British Composers Thre...
Last post by Luke - Today at 01:45:12 AMNo better St George's Day listening for me, in England, in April, than the overwhelming masterpiece that is April-England, by John Foulds. A piece that gets to the heart of things, one that is always a treat to hear.
#10
Great Recordings and Reviews / Re: Beethoven's Piano Sonatas
Last post by prémont - Today at 01:42:55 AMQuote from: Madiel on Today at 01:39:07 AMTechnically it actually only lists Tomsic on one track. And then proceeds to list nobody at all on all the other tracks.
This is the heading, hinting at Tomsic for all the tracks:
Beethoven - Piano Classics
Dubravka Tomsic
102 SONGS • 10 HOURS AND 56 MINUTES • MAY 01 2009