Recent Posts

Pages: [1] 2 3 ... 10
General Classical Music Discussion / Re: What are you listening 2 now?
« Last post by Traverso on Today at 04:47:25 AM »
It slipped my mind, obviously.... :D


BTW there are quite a few recordings of Dufay songs on offer these days. Time to take my pick.  :)

These ones with the secular songs  are of course in your collection  :)

General Classical Music Discussion / Re: What are you listening 2 now?
« Last post by 71 dB on Today at 04:47:01 AM »
I have had a few less good experiences with other recordings by Musica Fiata / Wilson, so I tend to avoid them.

Well, based on my experience with this Buxtehude I'll avoid them too in the future.  :P
The Diner / Re: Last Movie You Watched
« Last post by OrchestralNut on Today at 04:46:52 AM »
The Lighthouse

This is a dark, brooding, atmospheric film that has a continuous sense of foreboding from its beginning. Shot in B/W the cinematography is excellent and it definitely enhances the mood of the film. The psychology of isolation and an alcohol fuelled environment are well explored here. There is a somewhat forced but definite sense of retribution in the final scene. This is not a film to suit every need but I thought that it was fine and thought provoking.

Hmmm, may be of interest to me.
Great Recordings and Reviews / Re: New Releases
« Last post by OrchestralNut on Today at 04:45:07 AM »
Thank God for the Ignore List. Another one added.

A peculiar comment.
General Classical Music Discussion / Re: What are you listening 2 now?
« Last post by Que on Today at 04:40:02 AM »
General Classical Music Discussion / Re: Why do you like...?
« Last post by Florestan on Today at 04:32:51 AM »
I like Schubert's Piano Sonata D960 and Schumann's Three Romances for Oboe and Piano Op. 94, first and foremost the 2nd one, because the very first time I've ever heard them I was right in the middle of a passionate love affair, with all the corresponding ups and downs, and I felt that they miraculously expressed all my joys, sorrows and hopes. To this very day they never fail to give me goosebumps and even occasionally bring tears to my eyes, although those days are long gone and that love has been long since dead and buried.

Composer Discussion / Re: Peter Warlock (Philip Heseltine) 1894-1930
« Last post by Irons on Today at 04:27:12 AM »
Sounds like our current political leadership!  ;D

Brilliant! My first laugh of the day! :laugh:
Great Recordings and Reviews / Re: New Releases
« Last post by MusicTurner on Today at 04:26:20 AM »
I see that Mejoueva recorded at least one of Bach's French Suites before, the 5th, in 2012:

Got a bit interested in her & found a small interview in a Chinese newspaper. It's not revelatory, but does contain a bit of interest, such as saying that she's a student of Heinrich Neuhaus but doesn't want to play in a 'Russian, ~highly emotional style'.
General Classical Music Discussion / Re: Thirty three and a third.
« Last post by Irons on Today at 04:23:36 AM »

A set with usually positive feedback on GMG.
Great Recordings and Reviews / Re: New Releases
« Last post by amw on Today at 04:23:32 AM »
And yet concerts today are usually much shorter (and less varied) than the early 19th century ones.
Early 19th century audiences were also not expected to sit in reverential silence and half darkness for five hours to listen to music. Concerts were social events, to see and be seen, converse with peers, occasionally listen to the music if the piece was sufficiently short or interesting, and request encores or ad hoc programme changes whenever one got bored.

The way we look at concerts is essentially the Late Romantic one. Its basic features, from programming to etiquette, have been established since before 1900.
Yes, but well after the time of Schubert and Schumann; the modern concert did begin to crystallise in the 1840s (while not displacing earlier concertgoing modalities) but had only taken more or less its present-day form by the 1870s-1880s.

Are you implying that no contemporary pianist, much less the younger ones, should continue to play and record Chopin anymore?
The discussion here is clearly about ways of performing the standard repertoire, with me and Que agreeing that it is largely a waste of time to continue to play it on modern instruments in the manner established by the famous "old school" pianists of the 20th century. If a performer isn't interested in playing the music in a way closer to the composer's intentions, and doesn't wish to bring any new and individual interpretation to the music, what is the point? Are young pianists (e.g. Cho, Grosvenor, Moog) recording Chopin and Liszt and Rachmaninov because they have something new and original to say, or just to prove that they can do it in order to satisfy the critics and build their careers, so that they can move on to whatever they're more interested in? (Ok, there are other possible reasons as well, but less defensible ones.)
Pages: [1] 2 3 ... 10