GMG Classical Music Forum

Here you can post any classical review that you find to be so bad that they're good. I can only assume that most will be drawn from the most fertile of breeding grounds for these things: Amazon.com. One statement I just tripped over:

For Schubert sonatas, stay with Russian artists (http://www.amazon.com/Schubert-Piano-Sonatas-Impromptus-Franz/dp/B005BLYSQK/ref=as_li_tf_ssw?&linkCode=wss&tag=goodmusicguideco)

THE MARILYN MANSON OF CLASSICAL MUSIC!!! (http://www.amazon.com/review/RGHOKIJU4C9UT/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B00000GV5L&nodeID=&tag=&linkCode=)

This wonderfully fuzzy-headed review (http://www.amazon.com/review/RXBNKCXFC544U/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B00005YJYY&nodeID=&tag=&linkCode=) of Brahms' double concerto is quite amusing.  That said, it would be more amusing if the author would realize that he is not Kerouac and use a few more periods.

Quote from: Coco on October 25, 2011, 04:52:12 PM
THE MARILYN MANSON OF CLASSICAL MUSIC!!! (http://www.amazon.com/review/RGHOKIJU4C9UT/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B00000GV5L&nodeID=&tag=&linkCode=)

That's a fabulous piece of trolling. I give it 11/10.

Okay-, I'm cheating here, but whenever I get down, I go to amazon and read the user reviews for Kevin Federline's (the ex Ms Brittney Spears) album Playing with Fire, on of the most reviled albums in history.  Great quotes include:

"I would rather listen to 80 minutes of feedback at full volume with headphones than catch a second of this from a passing car. This album is to music what Jeffrey Dahmer was to cuisine. "

"like listening to your grandparents having sex"

"He neither kills outright nor inflicts apparent physical harm, yet the extent of his destructive toll is already greater than that of any war, plague, famine, or natural calamity on record--and his potential damage to the quality of human life and the fabric of civilized society is beyond calculation. For that reason, he might well be called the "Fifth Horseman of the Apocalypse." His more conventional name, of course, is K-Fed. "

"Having a limb removed by a Corn Picker would be less painful.
Please kill me. Please empale me on a rusty, manure covered pitchfork so that my gut can swell up with infestation and gangrene. It is the only thing that could overcome the terrible mind piercing pain that eats at my very soul when ever K-Fed raps. "


Some put there reviews to verse, and a couple people decided to mess with the ratings by ranking K-Fed slightly below the Second Coming.  One essay likened him to Shakespeare, and  my fave refers to him as Beethoven's Tenth.  Maybe I need to post the "genius" reference to another thread.

"Seldom do we witness the birth of genius in our time, the rise of a titan among those enslaved by formalistic vision, limited in both scope and depth. Just as Beethoven forever altered our concept of music in the 19th Century, and both Stravinsky and Bartok traversed startling new paths into the far reaches of what music could be in the 20th Century, K-Fed stretches further into the heavenly ether and places himself in a state somewhere between man and God. I will declare this with absolute conviction and in a sober state of mind--this album marks year zero for music. Just as the arrival of Christ forever split time between BC and AD in the western world, so too does K-Fed split musical history. All that follows this masterpiece will, in its inherent inferiority and spiritual weakness, be derivative of K-Fed at best.

Upon examination of this album's content, it is nearly impossible to fully grasp its brilliant commentary on the human condition. I will say this. Like many modernistic and avant-garde artists who preceded him, K-Fed draws his inspiration from the everyday realities of socialist life, utilizing Menckenesque satire within the confines of stream of consciousness narration. For the ideal example of this, see "Dance with a pimp".

And, as a response to critics, I will proclaim this. In His time, it was Christ who was crucified and Barabbas who was set free. There will come a time when the concert halls of Europe will, in an ultimately futile attempt to capture the very voice of God, set civilization ablaze with the sounds of "Playing with Fire"


To add a bit of obligatory Classical content, I must confess I did a mashup of the afforementioned "Dance with a Pimp" with some of Webern's 6 pieces for orchestra.  As you can imagine the most violent, wrenching, dissonant moments occured after I faded out the Webern, and let K-Fed continue.

Thanks to Madaboutmahler for directing me towards another worthy entry to the Amazonian archives of infamy:

This cd had all the music I hoped and was lovely apart from that the cd sounded as if it had been recorded from the playback of a gramophone or record player and had lots of hissing and scratchy sounds just as you would expect from a record, not a cd!

Re. a recording of Holst conducting his own music.

Quote from: Lethe Dmitriyevna Pettersson on November 06, 2011, 10:51:34 AM
Thanks to Madaboutmahler for directing me towards another worthy entry to the Amazonian archives of infamy:

This cd had all the music I hoped and was lovely apart from that the cd sounded as if it had been recorded from the playback of a gramophone or record player and had lots of hissing and scratchy sounds just as you would expect from a record, not a cd!

Re. a recording of Holst conducting his own music.

Oh, my pleasure! :) haha - what an incredibly amusing quote! :)

...the light fellatios of time... (http://www.amazon.com/Sciarrino-Unimmagine-Arpocrate-6-Capricci/product-reviews/B0002W1B22/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1)

...mists of garlic patches,spatialized...

That review sounds like something run through google translate a number of times. visiting countless numbers of arcane languageson its way to English.

Compose your own review in the style of the "hugely impressive" Andrew Clements, music critic of the UK Guardian newspaper

http://ded.increpare.com/~locus/Clements.html

How could I forget this classic?

Birgit Nilsson is the death star!!!! (http://www.amazon.com/Wagner-Tristan-Isolde-Richard/product-reviews/B000001GXS?pageNumber=4)

Imagine the death star in Star Wars. "Fire at will commander," orders the Emperor himself. The peons pull the lever and whooooooooosh .... a blinding flash of light shoots out from the fearsome death star. The moon is completely pulverized.

Yes, this is Birgit Nilsson hurling her vocal lightning at you. You'll be utterly stunned by the impact of her voice, no holds bar.

I sank a couple of beers at the No Holds Bar, once . . . .

Quote from: Lethe Dmitriyevna Pettersson on November 27, 2011, 10:18:40 PM
...the light fellatios of time... (http://www.amazon.com/Sciarrino-Unimmagine-Arpocrate-6-Capricci/product-reviews/B0002W1B22/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1)

...mists of garlic patches,spatialized...

What's even funnier is that 4 out of 5 people found this review helpful. Helpful in what way, I wonder?  ;D

Sarge

Quote from: Lethevich Dmitriyevna Pettersonova on November 27, 2011, 10:18:40 PM
...the light fellatios of time... (http://www.amazon.com/Sciarrino-Unimmagine-Arpocrate-6-Capricci/product-reviews/B0002W1B22/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1)

...mists of garlic patches,spatialized...

I've actually met the guy who wrote those. He's surprisingly lucid in person.

I really love the music of Jean Cras, so it really pained me to see MusicWeb's classical editor, Rob Barnett, write this bone-headed sentence in a review of Cras' chamber music (http://www.musicweb-international.com/classrev/2011/Dec11/Cras_harp_CD505024.htm):

"The five movement Quintet (1928) is in four movements."

Someone should write a Quintet in 5 movements and only write it with 4 movements.

The final movement would be marked pensato, which means that the players merely think about playing the notes without actually playing them.

Quote from: Greg on December 23, 2011, 07:40:39 PM
Someone should write a Quintet in 5 movements and only write it with 4 movements.

Even better, it should be for four players!

Quote from: Brian on December 23, 2011, 05:56:38 PM
I really love the music of Jean Cras, so it really pained me to see MusicWeb's classical editor, Rob Barnett, write this bone-headed sentence in a review of Cras' chamber music (http://www.musicweb-international.com/classrev/2011/Dec11/Cras_harp_CD505024.htm):

"The five movement Quintet (1928) is in four movements."

Quote from: Greg on December 23, 2011, 07:40:39 PM
Someone should write a Quintet in 5 movements and only write it with 4 movements.

Quote from: Coco on December 23, 2011, 08:02:13 PM
The final movement would be marked pensato, which means that the players merely think about playing the notes without actually playing them.

Quote from: The new erato on December 24, 2011, 12:39:50 AM
Even better, it should be for four players!

That all made me laugh out loud.  ;D

All of that reminds me of the story (http://www.chamber-music.org/pdf/magazine/2011/11MarAmCom.pdf) of Ezra Sims' String Quartet no. 2 (1962). The prolific biographer Nicolas Slonimsky had attributed a work of this title and date to Sims in Baker's Biographical Dictionary when none existed. In response, Sims gave the title "String Quartet no. 2 (1962)" to a later work, written in 1974 and scored for a mixed quintet of winds and strings.

Quintet for pianoforte three hands

Movement 1: tuning up
Movement 2: tutti pianissimo
Movement 3: presto adagio (poco poco)
Movement 4: presenting of the bill
Movement 5: the next piece (attaca)

I don't know if it's fun, but it's at least quite deviant in style; the story of Colonel Abbado (http://www.amazon.com/Horn-Concertos-Wolfgang-Amadeus-Mozart/dp/B00507ZQS4/ref=pd_sim_m_3)

Quote from: eyeresist on December 25, 2011, 12:10:25 AM
Quintet for pianoforte three hands

Movement 1: tuning up
Movement 2: tutti pianissimo
Movement 3: presto adagio (poco poco)
Movement 4: presenting of the bill
Movement 5: the next piece (attaca)

Hey! Is this by Thalberg too?

While the site is even less reliable than Gramophone, I was surprised at this low from classics today:

http://www.classicstoday.com/review.asp?ReviewNum=8315

A Karel Ančerl disc with a "10" for sound quality.

Quote from: Lethevich Dmitriyevna Pettersonova on November 27, 2011, 10:18:40 PM
...mists of garlic patches,spatialized...

More than a month later, the disc is still available at only $99.00!!!
http://www.amazon.com/review/RTVDGF710SHE4/ref=cm_cr_pr_cmt?ie=UTF8&ASIN=B0002W1B22&nodeID=&tag=&linkCode=#wasThisHelpful
"the '6 Capicci' as well, are extraordinary unaccompanied violin solos,owing to their genre, yet redefining it; brutal,lumbered,perverse,inversed graphic,gratuitous and raw almost machine like, like that is what we are suppose to be as human creators, machines,repetitive clones of what we have already created, and will create, models of ourselves..."
ZB

Quote from: zamyrabyrd on January 14, 2012, 08:17:53 AM
More than a month later, the disc is still available at only $99.00!!!

I have that disc - perhaps I should sell it ;D Oh wait, this guy's review will turn anyone off from purchasing :(

Quote from: Lethevich Dmitriyevna Pettersonova on October 25, 2011, 03:22:15 PM
For Schubert sonatas, stay with Russian artists (http://www.amazon.com/Schubert-Piano-Sonatas-Impromptus-Franz/dp/B005BLYSQK/ref=as_li_tf_ssw?&linkCode=wss&tag=goodmusicguideco)

Hi Petterson-ova
No way!!!
This set is for playing on your computer while at work; it will not detract from your productivity
ZB

Quote from: Klaze on December 30, 2011, 05:24:51 AM
I don't know if it's fun, but it's at least quite deviant in style; the story of Colonel Abbado (http://www.amazon.com/Horn-Concertos-Wolfgang-Amadeus-Mozart/dp/B00507ZQS4/ref=pd_sim_m_3)

This guy is genuinely amusing and interesting. Scroll down to the "Ghost of Furtwangler".
http://www.amazon.com/gp/cdp/member-reviews/ALAJL3S09HBS7/ref=cm_pdp_rev_more?ie=UTF8&sort_by=MostRecentReview#RYLKNPV5FKXWN

His conversational style of writing is reminiscent of early 19th century critics like Berlioz and Schumann.
ZB

Quote from: zamyrabyrd on January 16, 2012, 01:54:12 AM
This guy is genuinely amusing and interesting. Scroll down to the "Ghost of Furtwangler".
http://www.amazon.com/gp/cdp/member-reviews/ALAJL3S09HBS7/ref=cm_pdp_rev_more?ie=UTF8&sort_by=MostRecentReview#RYLKNPV5FKXWN

His conversational style of writing is reminiscent of early 19th century critics like Berlioz and Schumann.
ZB

That guy is a gold mine. I especially love this:
"All great recordings are a joy to behold. This performance is energy draining. One is left listless, surly and partial to knocks on the door from people offering salvation."

Quote from: Brian on January 16, 2012, 06:38:49 AM
That guy is a gold mine. I especially love this:
"All great recordings are a joy to behold. This performance is energy draining. One is left listless, surly and partial to knocks on the door from people offering salvation."

It would be fun to have him here... :o

Quote from: zamyrabyrd on January 16, 2012, 07:27:13 AM
It would be fun to have him here... :o

Exactly what I was thinking, bit of a polymath with a humorous edge.

Mike

Quote from: knight66 on January 16, 2012, 10:50:03 AM
Exactly what I was thinking, bit of a polymath with a humorous edge.

Mike

I took the liberty of writing to and inviting Bernard O'Hanlon to our ragtag group. As an incentive, I mentioned that Bruckner fans congregate here. He wrote he would not only be happy, but honoured to join, however, he is very busy right now. Hopefully, he may find time to visit in the future and may even stay awhile.
(BTW, the Te Deum of Bruckner conducted by Karajan was on Mezzo TV last night, a really impressive work in a regal performance that surely did it justice.)
ZB

I did wonder how he would get along here. He has very strong opinions on HIP, Abbado and a number of other matters that would provide a focus for some lively discussion, even....work for the mods if people did not appreciate his very direct views, but he would brighten things up and he has a terrific sense of style.

Mike

Not too fun, but a little cringe-inducing - a disc by the Ysaÿe Quartet of Debussy, Stravinsky and Fauré, by a reviewer under the misconception that all the music is by Eugène Ysaÿe.

Linky. (http://www.amazon.com/exec/obidos/ASIN/B000IHY1GE/?tag=goodmusicguideco)

Quote from: knight66 on January 20, 2012, 11:53:53 AM
I did wonder how he would get along here. He has very strong opinions on HIP, Abbado and a number of other matters that would provide a focus for some lively discussion, even....work for the mods if people did not appreciate his very direct views, but he would brighten things up and he has a terrific sense of style.

Others might say he loves the sound of his own voice ;)

It is clear that he enjoys language and to play with it. He has a distinctive style. He is opinionated; like many here.

Mike

Quote from: knight66 on January 30, 2012, 11:41:19 AM
He is opinionated; like many here.

MAHLER IS THE GREATEST! FACT.

(* chortle *)

Quote from: madaboutmahler on January 30, 2012, 11:46:38 AM
MAHLER IS THE GREATEST! FACT.

You are of course correct, he was the greatest composer who wrote nine symphonies and died in 1911.

Mike

Quote from: knight66 on January 30, 2012, 12:04:42 PM
You are of course correct, he was the greatest composer who wrote nine symphonies and died in 1911.

Mike

He wasn't, but I'll admit he was one of the two greatest composers to write nine symphonies and very little else of any relevance.

There were two composers of nine symphonies who died in 1911?

Tough luck, Gustav!

I overlooked the 1911 part, in which case I agree. He was the supreme master.

I thought you must have read over-quickly : )

Nicht schleppen, and all that . . . .

Quote from: The new erato on January 30, 2012, 12:14:40 PM
I overlooked the 1911 part, in which case I agree. He was the supreme master.

Your criteria are a little TOO specific.

Oh, by design, and all to Mahler's advantage!

The best composer, initials GM, to leave a 10th symphony uncompleted?
Oh, that's Gavin Mulroy, of course. He used to live right up my street.

QuoteAllan Pettersson is a more successful composer than
Stravinsky because Mr. Pettersson liked what he was doing
and without trying to be imporant either academically or
in being famous. Stravinsky was always working hard at being
the 'leader' of a musical revolution which now seems less
musical than the current craze of Lady Gaga, Justin Bieber or
even of a few years ago, Hannah Montana. Petterson's works
were a joy to discover and the way to end this post is
"I like it."

Link (http://www.amazon.com/exec/obidos/ASIN/B000L42J7C/?tag=goodmusicguideco)

Quote from: Lethevich on February 08, 2012, 04:58:22 AM
Link (http://www.amazon.com/exec/obidos/ASIN/B000L42J7C/?tag=goodmusicguideco)

Thanks for the link. It lead me also to a classic and very long paulb review which begins

"EDIT MAY 6,2009: SYSM 3 and 4 ARE PART OF THE SYMPHONIC CYCLE...I have reconsidered my previous assessment that the cycle begins at sym 6,,but now realize syms 3,4,5 ARE INDEED PART of the cycle...UNREAL..3-15..lets see thats a 13 sym cycle..13 syms in as part of one cycle...name any other composer to do such a task?...Pettersson, the greatest symphonic composer in the 20th century, and the greatest other than Mozart.. (Beethoven..good grief, I hate LVB's music, yucckkk!)"


Wow...just wow. I miss the guy  ;D

Sarge

;)

QuoteDunstable and Egyption art, By A Customer

Dunstable is the dawn of renaissance music with its glow and dewy freshness. To compare Dunstable to Dufay may be liken Schubert to Mozart. The latter is more symmetrical and apollonian. Dunstable's music can "overflow" like the Nile. Indead, if Dufay is Greek, Dunstable is Egyption. For example his broad, static, and reposeful harmonies can be liken to Egyption art. Or to a river where the harmonies proceed going from one current to another. The partwriting is more "spatial" less "linear", so while intricacy isn't lacking, it is less prominant than in medeival France. As a curioso, the Egyptions were the ancient masters of astronomy and math and Dunstable was an astronomer and mathematican. There is an impersonal and expansive quality to their artistry. Yet no renassaisance music I know of surpasses it in warmth, sponteniety and noble simplicity.

Link (http://www.amazon.com/John-Dunstaple-Musician-Plantagenets-Orlando/product-reviews/B000002K3V/ref=cm_cr_dp_all_helpful?ie=UTF8&showViewpoints=1&sortBy=bySubmissionDateDescending)

QuoteVasks is typical of today's "spiritual minimalists" - sort of a blend of New Age "air pudding" with a very light sprinkle of "seriousness". Easy to listen to - you could put this on as background music, or to fall asleep to. And I realize that's what a lot of people seem to be looking for these days. But don't expect any soul-searching, or profundity. Slightly melancholic, wistful, not exactly "deep", but at least it isn't Yanni. If you've heard it once, there's not a lot to be mined out of it on repeated listenings.

If you'd like a more substantial musical experience, try the symphonies of Allan Pettersson. Start with his 7th. - Amazon review (http://www.amazon.com/Vasks-Distant-Concerto-Orchestra-Symphony/product-reviews/B000026CDC/ref=cm_cr_dp_all_helpful?ie=UTF8&showViewpoints=1&sortBy=bySubmissionDateDescending)

The smugness-to-not-getting-it ratio is off the chart.

(http://i50.tinypic.com/2nrq4o1.jpg)

Oh, I do want to continue reading so badly. ;D Alas, it's one of those pay-to-read articles.

Quote from: Opus106 on July 25, 2012, 09:19:28 AM
(http://i50.tinypic.com/2nrq4o1.jpg)

Oh, I do want to continue reading so badly. ;D Alas, it's one of those pay-to-read articles.

Maybe you, Sarge, me, and anyone else who might be interested should take up a collection and get a shared Insider account to read those things. We can use a pseudonym like Vi McBrato.

David Hurwitz watched Sex in the City?

Quote from: karlhenning on July 25, 2012, 09:37:28 AM
David Hurwitz watched Sex in the City?

;D ;D ;D

Maybe you already know this, but for contemporary music reviews you can use it.

http://www.dominicirving.com/cccbsg/

It works!  ;D

Quote from: Kastchei on August 01, 2012, 01:15:28 PMMaybe you already know this, but for contemporary music reviews you can use it.

http://www.dominicirving.com/cccbsg/

It works!  ;D

My God, the implications are depressing.



"The fact that dissonances tend to (at least in their 12-tone state), non-linearly incorporate, even in the presence of a strong conflict, is, you will agree, patently absurd."

Good review, apparently awful performance: Botstein, Ives & Mahler in a trainwreck for the ages (http://www.classicstoday.com/train-wreck-at-the-american-symphonys-50-year-gala/).

Quote from: karlhenning on November 19, 2012, 09:15:36 AM
Good review, apparently awful performance: Botstein, Ives & Mahler in a trainwreck for the ages (http://www.classicstoday.com/train-wreck-at-the-american-symphonys-50-year-gala/).

I saw that American Symphony review; such a shame, considering the good intentions...

Meanwhile, Amazon customer reviews are fish in a barrel, but still, I can't let this one (http://www.amazon.com/review/RSJM6UXUMLB0I/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B002KHUEOI&linkCode=&nodeID=&tag=) go unmentioned:

QuoteBesides being my favorite composer, Beethoven is, by far, the most talented composer as he was blind. Yet he was able to compose and play as well as direct in total darkness. He was, and still is, the greatest!

David Hurwitz has exceeded even his own usual high standards!

"Fonogrammi, Anaklasis, Partita, and De natura sonoris I consist almost entirely of noise—often wonderful, imaginative noise, but noise nonetheless. When listening to De natura sonoris I, for example, I was so captivated by a strange percussive sound that I went back to listen to it again—only to find it missing. Turns out on closer examination that it was the ice maker in my refrigerator dumping cubes into the hopper. It fit perfectly into the texture of the piece. Indeed, if Mr. Penderecki is listening, I strongly recommend that he consider scoring his next work for a Bosch side-by-side refrigerator-freezer with automatic ice dispenser in the freezer door. It's amazingly musical."

http://www.classicstoday.com/review/naxos-penderecki-grammy-winner/

;D ;D ;D

A hoot!

Quote from: Lethevich on January 13, 2012, 01:55:12 PM
A Karel Ančerl disc with a "10" for sound quality.

Are all analog recordings precluded from a 10 for sound quality, or just ones made in the Eastern Bloc?

Oh man, it's so fun to let Google auto-translate ClassicsTodayFrance reviews.

"The purpose here seems to be stripping the work is to convince the moose and subtle nuances."

"The issue of domination discography does not even arise."

"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

Quote from: Brian on February 16, 2013, 11:32:57 AM
"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

I've heard more than one Järvi recording which answers to that description....

Quote from: Brian on February 16, 2013, 11:32:57 AM


"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

Well that seems more or less very French.

Quote from: Lethevich on January 13, 2012, 01:55:12 PM
While the site is even less reliable than Gramophone, I was surprised at this low from classics today:

http://www.classicstoday.com/review.asp?ReviewNum=8315

A Karel Ančerl disc with a "10" for sound quality.

Perhaps it's just a hip way to let us know it's mono - they'd naturally rate it "11" if it was stereo...

Quote from: North Star on February 16, 2013, 02:00:26 PM
Perhaps it's just a hip way to let us know it's mono - they'd naturally rate it "11" if it was stereo...

The recording in question is stereo.  CT usually cuts the sound rating in half for mono -- half the channels, so half the rating -- which I find rather silly.

Quote from: Brian on February 16, 2013, 11:32:57 AM
Oh man, it's so fun to let Google auto-translate ClassicsTodayFrance reviews.

I return less the inconsistency technical label industry's flagship classic (since everything is going to spray EMI and Sony BMG seems hardly pretend to exist, at least in North America). Alongside stunning successes (Duo-Grimaud Gabetta), there is sheer horror (Grimaud Mozart) to technical awards DG.

This brings us to a Brahms level of mediocrity that evokes memories of taking his glaucous EMI signed Paul Vavasseur in the years 60-70, the quadra EMI 70s (like Karajan Symphonia domestica) or Scottish Chandos recordings to late 80s. The sound of the orchestra, just searched and unrefined, like radio broadcasting, and pours suddenly unfolds in a kind of cathedral of sound (Reims? Chartres?). Be compared with some questioning the sound of the orchestra in some strains of the intro (say, 0'45) with others in development (8'40), with an echo of the order of 3 seconds. The violin part of this huge halo or cheese dish.

Thielemann is positively unrecognizable in the introduction: surly, up with lots of ideas. The thing does not last: Lisa Batiashvili his place mats beautiful sound no flesh (same problem as in Shostakovich) with less distasteful than Julian Rachlin, but also its least. Tic precious little lady is to lighten his sentence for small spikes whipped cream. Material: none. Ah yes, Batiashvili and the pace of play Thieleman Busoni I always monstrous. The coupling is smart but short (9mn).

All this is a inintérêt abyssal, when we think of the great Brahms DG: Schneiderhan Van Kempen, Ferras, Karajan, Milstein, Jochum, Bernstein-Kremer, Mutter, Masur and the sublime Shaham, Abbado, Shaham great musician DG to shamefully dropped in favor of this kind of stuff marketing nut.

- Christophe Huss

Quote from: Brian on March 09, 2013, 07:14:00 PM
I return less the inconsistency technical label industry's flagship classic (since everything is going to spray EMI and Sony BMG seems hardly pretend to exist, at least in North America). Alongside stunning successes (Duo-Grimaud Gabetta), there is sheer horror (Grimaud Mozart) to technical awards DG.

This brings us to a Brahms level of mediocrity that evokes memories of taking his glaucous EMI signed Paul Vavasseur in the years 60-70, the quadra EMI 70s (like Karajan Symphonia domestica) or Scottish Chandos recordings to late 80s. The sound of the orchestra, just searched and unrefined, like radio broadcasting, and pours suddenly unfolds in a kind of cathedral of sound (Reims? Chartres?). Be compared with some questioning the sound of the orchestra in some strains of the intro (say, 0'45) with others in development (8'40), with an echo of the order of 3 seconds. The violin part of this huge halo or cheese dish.

Thielemann is positively unrecognizable in the introduction: surly, up with lots of ideas. The thing does not last: Lisa Batiashvili his place mats beautiful sound no flesh (same problem as in Shostakovich) with less distasteful than Julian Rachlin, but also its least. Tic precious little lady is to lighten his sentence for small spikes whipped cream. Material: none. Ah yes, Batiashvili and the pace of play Thieleman Busoni I always monstrous. The coupling is smart but short (9mn).

All this is a inintérêt abyssal, when we think of the great Brahms DG: Schneiderhan Van Kempen, Ferras, Karajan, Milstein, Jochum, Bernstein-Kremer, Mutter, Masur and the sublime Shaham, Abbado, Shaham great musician DG to shamefully dropped in favor of this kind of stuff marketing nut.

- Christophe Huss

Yes, but did he like it? And which disc is he talking about???

Quote from: The new erato on March 10, 2013, 01:37:21 AM
Yes, but did he like it? And which disc is he talking about???

Batiashvili plays Brahms (http://classicstodayfrance.com/review.asp?ReviewNum=4422)

Quote from: Opus106 on April 02, 2013, 09:22:06 AM

The new Craft recordings of the Second Viennese School Composers are the recordings to have. Finally performers have caught up with the composers and make this difficult music sound easy and right and like MUSIC.

Link (http://www.amazon.com/review/RQEAMO3J2N5KM/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B0027DQHDM&linkCode=&nodeID=&tag=)

Nice!

Yet more fun with Google Translate and ClassicsTodayFrance.

"Came to this beach 9, it was entitled to treat the program "deeply stupid" (minus 1 note, for once)? ...Throughout this section, Wunder elk as part Droopy stainless steel. I prefer this to the anything, but it's still a bit annoying.

"So we feel that the artist is worth seeing, but there is so (capture a little dry, but nice) yet the magic of touch, vertigo or digital delusions. In the end, still reeling from the stupidity visceral art project (go, yet another minus 1 note, for once), you wonder what all this is."

http://www.classicstodayfrance.com/review.asp?ReviewNum=4431

I love the random "elk."

This is not really a fun review!

I read a remark by a music critic, quoted on the NY Philharmonic website, which remark made me want to throw a brick:

Quote
( Christopher Rouse is ) one of America's "loftiest, most passionate and most sincere composers" (critic Justin Davidson) ...

.    :P

"Most sincere" ?!  Really?  How nice!   ???

The paywall is a spoilsport here:


CD From Hell: The London Haydn Quartet's Toxic Op. 33
by David Hurwitz
This isn't just a CD from hell. It's a CD from the seventh circle of hell. We're talking rock bottom... [Pay to Continue Reading]

Hah!

Ask me if I'm going to pay to read a Hurwitz review . . . .

Quote from: Google Translate and ClassicsTodayFrance
Came to this beach 9, it was entitled to treat the program "deeply stupid" (minus 1 note, for once)? ...Throughout this section, Wunder elk as part Droopy stainless steel. I prefer this to the anything, but it's still a bit annoying.

Thanks, Brian, this is beautiful.

Quote from: karlhenning on June 17, 2013, 10:22:13 AM
Hah!

Ask me if I'm going to pay to read a Hurwitz review . . . .

Are you going to pay for a Hurwitz review?  :-* >:D

It might have you in stiches! :)

I don't believe I am, but thanks!  8)

Quote from: Brian on June 17, 2013, 10:19:59 AM
The paywall is a spoilsport here:


CD From Hell: The London Haydn Quartet's Toxic Op. 33
by David Hurwitz
This isn't just a CD from hell. It's a CD from the seventh circle of hell. We're talking rock bottom... [Pay to Continue Reading]

I am suddenly immensely confident in my decision to order this set. ;D

Reviews (http://www.amazon.com/review/RF5KXPMZQKK3H/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B005FI6IRG&linkCode=&nodeID=&tag=) by the Soul Doctor (is that like a Love Doctor?) are always a hoot.

Oh, amazon...

http://www.amazon.com/review/RLMEAA4LLP8YI (http://www.amazon.com/review/RLMEAA4LLP8YI)

"the bridge of [Leroy Anderson's] Serenata could have been written by J. S. Bach."

Going through the 2nd Living Presence box, this disc came up today. I can't say I hear the similarity to Bach. :laugh:

Review: 1/5 (http://www.amazon.co.uk/review/R1TZPPE153WZVH/ref=cm_cr_dp_title?ie=UTF8&ASIN=B002NXSSWY&channel=detail-glance&nodeID=229816&store=music)

Let me make myself clear: I have NOT heard these particular recordings....

(No, he doesn't go on to complain about Amazon's services or any such thing.)

Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.
 
DG have pulled in some of their other big names for this project. Rolando Villazón brings a few moments of much-needed class to the proceedings, as does the golden guitar of 'Miloš', whose film-star looks surely have nothing to do with his fairly needless guest appearance.
 
How curious to think that Jenkins was a pupil of Alun Hoddinott. Each of his unlucky thirteen 'Canciones' bears a title colour, yet they could hardly be blander, even with the grand exoticism of Spanish translations. The very first item drops the listener into a parallel, Burt-Bacharach-meets-Antônio-Jobim universe. Yet Jenkins is immediately recognisable, despite the pseudo-Latin rhythms, for there are the helium-high voices of the Adiemus choir and those monotonous ostinatos. The voices are straight back for the next colour, slowed down and softened to prove that it is not simply the same track slightly tweaked. The next, 'Negra', sees the first appearance of a solo voice, the not-so-dulcet tones of fada crooner Cuca Roseta, making her sole contribution. As with Karadaglić, her two colour photos in the booklet are only loosely connected with her pretty face.
 
The longer the album goes on - why oh why a full 76 minutes - the weaker the will to live becomes in any listener with even a modicum of taste or dignity. Bizarrely, the third track from last is a slushy piano solo, complete with recorded footsteps of the approaching pianist - none other than Karl Jenkins. Then straight back to the New-Age-cum-Latin-American pasticcio. The final track - a "bonus", according to DG - is an imagination-free repetition of 'Canción Turquesa', with Villazón's voice replaced by Pacho Flores's trumpet.
 
The fakeness of the whole thing is confirmed in the detail of the booklet notes: the choir were recorded in Finland, Villazón in Paris and everyone else at different times and venues in London. Karl Jenkins's wife is listed as assistant producer, ditto their son. Aiding and abetting! Sound quality is good, it must be said, and chwarae teg, Jenkins' booklet notes are informative, the pages themselves much more colourful than the CD.
 
In short, 'Adiemus Colores' is a travesty of all things truly musical or interesting. It will surely do well.

http://musicweb-international.com/classrev/2013/Sept13/Jenkins_adiemus_4791067.htm

Quote from: Brian on September 01, 2013, 10:46:35 AM
Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.
 
DG have pulled in some of their other big names for this project. Rolando Villazón brings a few moments of much-needed class to the proceedings, as does the golden guitar of 'Miloš', whose film-star looks surely have nothing to do with his fairly needless guest appearance.
 
How curious to think that Jenkins was a pupil of Alun Hoddinott. Each of his unlucky thirteen 'Canciones' bears a title colour, yet they could hardly be blander, even with the grand exoticism of Spanish translations. The very first item drops the listener into a parallel, Burt-Bacharach-meets-Antônio-Jobim universe. Yet Jenkins is immediately recognisable, despite the pseudo-Latin rhythms, for there are the helium-high voices of the Adiemus choir and those monotonous ostinatos. The voices are straight back for the next colour, slowed down and softened to prove that it is not simply the same track slightly tweaked. The next, 'Negra', sees the first appearance of a solo voice, the not-so-dulcet tones of fada crooner Cuca Roseta, making her sole contribution. As with Karadaglić, her two colour photos in the booklet are only loosely connected with her pretty face.
 
The longer the album goes on - why oh why a full 76 minutes - the weaker the will to live becomes in any listener with even a modicum of taste or dignity. Bizarrely, the third track from last is a slushy piano solo, complete with recorded footsteps of the approaching pianist - none other than Karl Jenkins. Then straight back to the New-Age-cum-Latin-American pasticcio. The final track - a "bonus", according to DG - is an imagination-free repetition of 'Canción Turquesa', with Villazón's voice replaced by Pacho Flores's trumpet.
 
The fakeness of the whole thing is confirmed in the detail of the booklet notes: the choir were recorded in Finland, Villazón in Paris and everyone else at different times and venues in London. Karl Jenkins's wife is listed as assistant producer, ditto their son. Aiding and abetting! Sound quality is good, it must be said, and chwarae teg, Jenkins' booklet notes are informative, the pages themselves much more colourful than the CD.
 
In short, 'Adiemus Colores' is a travesty of all things truly musical or interesting. It will surely do well.

http://musicweb-international.com/classrev/2013/Sept13/Jenkins_adiemus_4791067.htm

This is the sort of review I detest. It is, correct me if I am wrong, supposed to be a review of the disc and not a lambasting (as in basting :)) of the composer. I am not adverse to a brief opinion of the work itself, but this sort of review is often what is wrong with reviewing. How many times have I read the same thing about some unknown composer, who turns out to be enjoyable? I don't want the reviewer to be the filter (even if he or she is right) - how many works/composers have been consigned to the reject pile of history, when in fact there was more to their work than was understood or appreciated?  The whole thing is an attack on the composer, and there is nothing to explain or support the writer's position (if one thinks the music a waste of space, one should at least take the time to say why, especially as he goes on and on like this). I wonder if the author realizes that he gives the reader sympathy with Jenkins, because of the sheet nastiness of the whole thing (when he probably wants the opposite)?

As people here seem to detest him as well, I fully expect to find little agreement, but Jenkins could easily have been replaced with Mompou, Schnittke, Delius, or some other misunderstood/unappreciated composer, something that I find happens all too often in the reviewing community.

Well said, Neal.  I mean, I enjoy reading a little witty derision now and again, but it is worthless as an indicator of artistic worth.

And here's amazon's "Editorial Review" (which reads like it was written by an intern at the label's PR department).

Quote
Since his self-penned debut album, Adiemus Songs of Sanctuary, Jenkins s albums have sold over two million copies around the world. His distinct signature sound has reached mainstream audiences around the globe through its use in scores of TV and cinema commercials in over 20 different countries. Levi Strauss, Delta Airlines, Cheltenham and Gloucester, Lexus, Japanese Airlines, Lux Soap, Hewlett Packard, De Beers, Johnnie Walker, Renault, BMW, Audi and Chanel No. 5 are just some of the brands to use his music to help sell their products and brand messages.

Adiemus Colores is his first work of its kind for ten years, and employs the rhythms, sounds, colors and textures of Latin American music to create a distinctly unique and exotic sound-world EXPECT THE UNEXPECTED!

Scored for choir (The Adiemus Singers), instrumental forces and a super-tight rhythm section, as well as solo guitar, trumpet and voice this world premiere recording features Fado sensation Cuca Roseta, star guitarist Milos, new trumpeter on the block Pacho Flores and the worlds favorite tenor, Rolando Villazon.

The musicweb review actually makes me want to hear it. The amazon blurb does not.

Quote from: Pat B on September 03, 2013, 09:21:20 AM
And here's amazon's "Editorial Review" (which reads like it was written by an intern at the label's PR department).

The musicweb review actually makes me want to hear it. The amazon blurb does not.

That's an Editorial Review?? There are like 5 typos in it, and not a single word of "reviewing".

The MusicWeb writeup DID inspire me to go listen to samples of each track (http://www.prestoclassical.co.uk/r/DG/4791067). The samples did not inspire me to buy the CD.

http://www.classicstoday.com/review/review-2966/

Quote from: The HurwitzerKarl Amadeus Hartmann is [...] one of a tiny handful of contemporary German composers of any significance at all.

Huh?! :-\

Quote from: Opus106 on September 07, 2013, 10:29:22 AM
http://www.classicstoday.com/review/review-2966/

Huh?! :-\

I also like the comparisons for Hartmann's 6th, particularly Varese's Ameriques. I mean, whaaaaat? (Admittedly, I can't really think of a good parallel for the finale--perhaps the Grosse Fuge comes as close as anything--but comparing it to Varese is an exercise in orthogonality.)

Quote from: mc ukrneal on September 01, 2013, 01:42:23 PM
This is the sort of review I detest. It is, correct me if I am wrong, supposed to be a review of the disc and not a lambasting (as in basting :)) of the composer. I am not adverse to a brief opinion of the work itself, but this sort of review is often what is wrong with reviewing. How many times have I read the same thing about some unknown composer, who turns out to be enjoyable? I don't want the reviewer to be the filter (even if he or she is right)

This does annoy me, particularly when one of my own oxen is gored.  I remember a Dubins review where he was dumping on CPE Bach.  I wanted to bop Dubins on the nose.  He's often dismissive of music I like.  However, I do like a critic to show some discernment about the quality of the music and to at least place it in perspective.  Too often they'll rave about music that is fairly forgettable.

Quote from: Brian on September 01, 2013, 10:46:35 AM
Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.

I had never heard any music from Karl Jenkins so I spent some time with it at NML.  He's definitely not my cup of tea, but i can't deny he writes some attractive melodies in styles that likely offer something to everyone.  I can easily hear how he could be a very popular composer. 

Quote from: Sammy on September 07, 2013, 06:21:51 PM
I had never heard any music from Karl Jenkins so I spent some time with it at NML.  He's definitely not my cup of tea, but i can't deny he writes some attractive melodies in styles that likely offer something to everyone.  I can easily hear how he could be a very popular composer.

Music for those who find Albinoni too challenging?  (I'm an Albinoni fan BTW).

Quote from: Daverz on September 07, 2013, 05:21:14 PM
This does annoy me, particularly when one of my own oxen is gored.  I remember a Dubins review where he was dumping on CPE Bach.  I wanted to bop Dubins on the nose.  He's often dismissive of music I like.  However, I do like a critic to show some discernment about the quality of the music and to at least place it in perspective.  Too often they'll rave about music that is fairly forgettable.

I'm assigned to write a lot of reviews of very little-known music, from all eras, and in these cases, I do feel obliged to tell readers whether they should hear the performances and whether they should hear the music. I try to describe the music in such a way that, if our tastes differ significantly, you'll still get some idea of what the music is like and whether it would suit you. Of course, the other thing is, I never seek out recordings of music I hate. I wouldn't request Karl Jenkins, for instance. Where possible, I listen to samples before accepting an assignment to make sure the music is something about which it will be possible to write fairly and (even better) enthusiastically.

It doesn't always work that way. I've had to be pretty negative about the music itself (http://www.musicweb-international.com/classrev/2013/May13/Neukomm_Chamber_7776212.htm) sometimes:

"Neukomm's compositions showed that Haydn had taught him how to be pleasant but not how to be interesting....

"Everything runs together, with one exception: the first 30 seconds of the Quintet are energetic, exciting, and vaguely Latinate in rhythm, with a prominent harp, so I was scrambling to the booklet notes to tell you about this one undiscovered gem before, just as suddenly as the party had started, it withdrew into a harmlessly cheery tune that the booklet tells me is "practically identical" to a piece by another, earlier composer. So much for that!

"It's very well-played, and the recorded sound is very good too - the trumpet never dominates the other instruments - but this is only for those who already know they are devotees of late-classical-era chamber music with no dramatic pulse. While listening to the Notturno, I had a thought: if someone said to me, "classical music is so boring," and I played them this CD, they would say "I told you so"."

Some more forum archaeology...

Quote from: Kastchei on August 01, 2012, 01:15:28 PM
Maybe you already know this, but for contemporary music reviews you can use it.

http://www.dominicirving.com/cccbsg/

It works!  ;D

This is hilarious, not to mention spot-on if you've ever read some of the esoteric descriptions composers like to give.

This also made me laugh out loud (mentioned previously) -- and I like Penderecki (including the "Da Natura Sonoris" sequence).

Quote
I also wonder how many members of NARAS who voted for this disc actually listened to it (or anything in the classical category, for that matter). This collection—excuse me, compendium—contains some of the composer's gnarliest music. Fonogrammi, Anaklasis, Partita, and De natura sonoris I consist almost entirely of noise—often wonderful, imaginative noise, but noise nonetheless. When listening to De natura sonoris I, for example, I was so captivated by a strange percussive sound that I went back to listen to it again—only to find it missing. Turns out on closer examination that it was the ice maker in my refrigerator dumping cubes into the hopper. It fit perfectly into the texture of the piece. Indeed, if Mr. Penderecki is listening, I strongly recommend that he consider scoring his next work for a Bosch side-by-side refrigerator-freezer with automatic ice dispenser in the freezer door. It's amazingly musical. - See more at: http://www.classicstoday.com/review/naxos-penderecki-grammy-winner/#sthash.jiZMUf9D.dpuf

From http://www.classicstoday.com/review/naxos-penderecki-grammy-winner/

Here's a personal favorite of mine, on the Anda/Fricsay Bartok PC cycle: http://www.amazon.com/review/R2Q10QBQGY9310/ref=cm_cr_pr_cmt?ie=UTF8&ASIN=B000001GPW#wasThisHelpful

I don't understand why people get so annoyed and make angry comments when the piece gets reviewed instead of the performance, though. It's strange, because for newer works the piece usually gets reviewed. For older works (and works with several recordings), the performance almost invariably is reviewed. Frankly, I prefer reading people's thoughts on the music itself (though performance is very important, too). That's just me, though.

But, seriously, no one likes it when someone says "My order didn't show up, etc..." and gives the product 1 star. At least listen to it first!

Quote from: EigenUser on April 12, 2014, 06:49:09 PM
I don't understand why people get so annoyed and make angry comments when the piece gets reviewed instead of the performance, though. It's strange, because for newer works the piece usually gets reviewed. For older works (and works with several recordings), the performance almost invariably is reviewed.

I don't think that's strange. For a work that has been recorded once, then the decision is whether or not to buy the piece, and a review of the recording is likely to be seen by many people making that decision.

But for something like the Bartók piano concertos, which have been recorded many times, there is a good chance that the buyer has already heard the work and is just deciding which recording to buy. Plus, a review against the piece will only be seen by those who are considering that particular recording.

FTR I mostly disregard amazon reviews and ratings unless I am familiar with the reviewer -- but I suspect a lot of buyers don't.

Quote from: Pat B on April 13, 2014, 09:38:20 AM
I don't think that's strange. For a work that has been recorded once, then the decision is whether or not to buy the piece, and a review of the recording is likely to be seen by many people making that decision.

But for something like the Bartók piano concertos, which have been recorded many times, there is a good chance that the buyer has already heard the work and is just deciding which recording to buy. Plus, a review against the piece will only be seen by those who are considering that particular recording.

FTR I mostly disregard amazon reviews and ratings unless I am familiar with the reviewer -- but I suspect a lot of buyers don't.

Yes. When I see the first recording of Le Tombeau de Ligeti for Gob-Smackingly Large Orchestra, Choir, and Wind Machine by Eigen N. User I am most interested in a review of the piece.

Quote from: Ken B on April 13, 2014, 04:04:22 PM
Yes. When I see the first recording of Le Tombeau de Ligeti for Gob-Smackingly Large Orchestra, Choir, and Wind Machine by Eigen N. User I am most interested in a review of the piece.

Well, that seems to be a bit ambitious -- even for me!  ;)

Coincidentally, I am working on composing a short piece that I have given the name "A la Maniere de Ravel" (he wrote ones with this title, but for Borodin and Chabrier). BUT -- it's for solo piano  :( .

And, as a side note, Le Tombeau de Couperin is the most perfect piece ever composed for piano that I've heard (according to me, which probably makes it far from credible :-\ ). It's... simply...... lovely. I can think of no other word to describe it. The orchestral version is great, too.

Quote from: EigenUser on April 13, 2014, 04:12:40 PM

And, as a side note, Le Tombeau de Couperin is the most perfect piece ever composed for piano that I've heard

Sounds interesting. Who wrote it?

Quote from: Ken B on April 13, 2014, 06:54:49 PM
Sounds interesting. Who wrote it?

http://www.youtube.com/v/eb5OHsOYG5c

Favorite recordings: Michael Endres, Abbey Simon, and a sizzling arrangement by the Ellipsos Saxophone Quartet

Quote from: Ken B on April 13, 2014, 06:54:49 PM
Sounds interesting. Who wrote it?

(http://o.quizlet.com/Vaj3Laa4p-wby481rgth-A_m.png)

Quote from: EigenUser on April 13, 2014, 07:04:10 PM
(http://o.quizlet.com/Vaj3Laa4p-wby481rgth-A_m.png)

Ahhh, of course. Steven Pointer.

The second review one sees on the page, too..

Volodos plays Mompou 15 April 2014
By Vincent King
Verified Purchase (http://www.amazon.co.uk/exec/obidos/ASIN/B00BAC76MM/)

QuoteThis CD got a glowing review in the International Piano magazine.

Not familiar with the Spanish music of Mompou, I thought to give it a try.

It turned out to be chilidish. I promptly returned it to your goodselves and I MUST repeat that your returns policy and service is EXCELLENT !

Quote from: North Star on April 22, 2014, 01:04:36 PM
The second review one sees on the page, too..

Volodos plays Mompou 15 April 2014
By Vincent King
Verified Purchase (http://www.amazon.co.uk/exec/obidos/ASIN/B00BAC76MM/)

That's pretty funny.

There's this guy that went around on Amazon.com posting negative reviews on many Schoenberg disks claiming that the composer was a hack. Here's one.

Quote
Listen to the Dminor Quartet. Then you realize Schoenberg had not the talent or genius to compete with the likes of Debussy or Strauss or Schreker or Mahler. And then you know why he went atonal in the later works. To arouse incomprehension and awe in anyone who would listen. And, when rejected, as he was for the most part in his tonal music anyway, he could hide behind the curtain of complexity and strangeness, and complain of the public's lack of understanding. Ah, we see now that Schoenberg consciously maneuvered himself into position as the misunderstood "genius". Who could say otherwise? With his relentless self-promotion, he could throw dirt on manuscript paper and cry foul when the public was too "stupid" to recognize his greatness. Poor Schoenberg. Poor 20th Century. Let us hope for a better century ahead. No more Schoenbergs!

http://www.amazon.com/Schoenberg-Complete-String-Quartets-Arnold/product-reviews/B00002DDWS/ref=sr_cr_hist_1?ie=UTF8&filterBy=addOneStar&showViewpoints=0

There are several slightly different versions, but they are pretty much the same. I don't even like Schoenberg that much and I was laughing when I saw this. Especially since he went out of his way to post on several albums.

Quote from: EigenUser on April 22, 2014, 01:45:22 PM
That's pretty funny.

There's this guy that went around on Amazon.com posting negative reviews on many Schoenberg disks claiming that the composer was a hack. Here's one.http://www.amazon.com/Schoenberg-Complete-String-Quartets-Arnold/product-reviews/B00002DDWS/ref=sr_cr_hist_1?ie=UTF8&filterBy=addOneStar&showViewpoints=0

There are several slightly different versions, but they are pretty much the same. I don't even like Schoenberg that much and I was laughing when I saw this. Especially since he went out of his way to post on several albums.

Go look at some Ravel discs now Nate.

>:D


:laugh: :laugh: :laugh:

This is hilarious (and quite clever, actually): http://www.amazon.com/Introduction-Der-Ring-Des-Nibelungen/product-reviews/B00000424H/ref=cm_cr_dp_qt_hist_one?ie=UTF8&filterBy=addOneStar&showViewpoints=0

A very long customer review of Deryck Cooke's "An Introduction to Der Ring des Nibelungen" (Decca) on amazon...

not a review but a description of the Westminster re-issue box from Korea at amazon.uk
"Westminster would never have been able to meet out-of-print books, covering a total of orchestral sound precious box set * Hermann Shave encompasses the Artur Rosin skiing, Hans Sukhna putts Bush, Pierre Monteux and virtuoso of masterful more Paper sleeve with original cover."

Quote from: listener on May 03, 2014, 10:40:50 AM
not a review but a description of the Westminster re-issue box from Korea at amazon.uk
"Westminster would never have been able to meet out-of-print books, covering a total of orchestral sound precious box set * Hermann Shave encompasses the Artur Rosin skiing, Hans Sukhna putts Bush, Pierre Monteux and virtuoso of masterful more Paper sleeve with original cover."

:D :D :D I had read that one! Hilarious! The Goggle translator gone ballistic!  :laugh: :laugh:

This one's hilarious:

Quote
** Listening report **

György Ligeti: Violin Concerto -- Patricia Kopatchinskaja; Peter Eötvös conducting the Ensemble Modern

First movement - well, at least I thought it was supposed to be the first movement. I think that the CD I have is defective, because it sounds to me like they simply recorded the musicians tuning their instruments and playing various unrelated notes and sounds. It's pretty short, about 4 minutes. I'm sure that is what happened.

Second movement - yup, I was right, the first track was messed up. Now we have actual music playing, it sounds pretty good. Wait - something funny is happening - sounds like someone started to play a recorder, it seems to have upset the other musicians because they're back to tuning their instruments again. Someone decided to pluck their violin, must be impatient with the others still taking so much time with the tuning. Professional musicians, you would think that they would be able to get their instruments in tune much faster than this. They do resume playing music towards the end of the movement.

Third movement - OK, I think that they may have their act together now. Some very beautiful violin playing to begin with, the full ensemble becomes engaged, then enraged, quite angry obviously and as they should be at their fellow musicians who spent so much time messing around earlier. Ends abruptly.

Fourth movement - I think they have settled down now. Wait, I may have spoken too soon. Some of the string players seem to be making an effort to perform, there is clearly a conflict within the ensemble with others really fighting. It all comes to a very dramatic climax at the end of the movement. These performers must be at their wits end about now.

Fifth (final) movement - You can tell that the conflict within the ensemble is really out in the open now, because from the very beginning they are fighting, the violinists angry and now the wind players are upset too, someone puts their instrument down and goes and bangs on a drum out of frustration. The ending pretty much sums it all up, with the violins frantically playing, there is a very nice short segment with some singing together with the violins then it concludes with rapid fire comments from the horns and drums. I think that the musicians singing together towards the end was their delight that it was almost over, because they sound almost unearthly and angelic, their earlier frustrations now spent.

The five movements which altogether take about 28 minutes on this recording can probably be edited down to about six or seven minutes if they get the engineers back to the mixing studio and remove the parts they mistakenly included in this release. Or maybe they just need to have a meeting with the performers and get them to work together better next time.

http://www.amazon.com/review/R22EDUX8EDD2ER/ref=cm_cr_pr_cmt?ie=UTF8&ASIN=B008R5OKH4#wasThisHelpful

Man, Dave Hurwitz cranked out that rarest of Hurwitz things: a hilarious rave (http://www.classicstoday.com/review/sor-guitar-sonatas-just/). He scores it a '9' while going on for about 500 words about the ordeal of receiving the CD. Absurd but thoroughly entertaining.

"The Vienna Philharmonic never has played Mahler particularly well, or with evident enthusiasm....It's not as if the world needs another recording of this symphony, and making one with an orchestra that has shown such historical hostility toward, and incomprehension of, Mahler's idiom was clearly a risk best avoided."

http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf (http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf)

The Hurwitzer in high hear. Just to be clear: I'm laughing at not with.  :blank:

Quote from: Ken B on June 26, 2014, 11:50:49 AM
"The Vienna Philharmonic never has played Mahler particularly well, or with evident enthusiasm....It's not as if the world needs another recording of this symphony, and making one with an orchestra that has shown such historical hostility toward, and incomprehension of, Mahler's idiom was clearly a risk best avoided."

http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf (http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf)

The Hurwitzer in high hear. Just to be clear: I'm laughing at not with.  :blank:

Do people actually listen to him and take him seriously? He seems like a 1st-class jackass to me. In fact, after skimming some of his stuff I think he is a prime example of what is wrong with classical music today (by that, I mean the general "stuffed-shirt" impression that people unfortunately seem to harbor). Ugh. Makes me sick.

Quote from: EigenUser on June 26, 2014, 01:40:38 PM
Do people actually listen to him and take him seriously? He seems like a 1st-class jackass to me. In fact, after skimming some of his stuff I think he is a prime example of what is wrong with classical music today (by that, I mean the general "stuffed-shirt" impression that people unfortunately seem to harbor). Ugh. Makes me sick.

I doubt many people take him seriously. But plenty of them visit his website, which is all it takes for him to get paid. The more obnoxious he gets, the more people click.

Quote from: EigenUser on June 26, 2014, 01:40:38 PM
Do people actually listen to him and take him seriously? He seems like a 1st-class jackass to me. In fact, after skimming some of his stuff I think he is a prime example of what is wrong with classical music today (by that, I mean the general "stuffed-shirt" impression that people unfortunately seem to harbor). Ugh. Makes me sick.

I once blogged him as the world's worst music critic, after he dissed St Hogwood's Haydn symphonies. I remember one of his pet peeve reviews complaining about "waves of repellent beauty" from the orchestra.

Quote from: Ken B on June 26, 2014, 11:50:49 AM
"The Vienna Philharmonic never has played Mahler particularly well, or with evident enthusiasm....It's not as if the world needs another recording of this symphony, and making one with an orchestra that has shown such historical hostility toward, and incomprehension of, Mahler's idiom was clearly a risk best avoided."

http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf (http://www.classicstoday.com/review/review-12814/?search=1#sthash.nKp3GeRJ.dpuf)

The Hurwitzer in high hear. Just to be clear: I'm laughing at not with.  :blank:

Right orchestra, wrong conductor.  I am thinking of Abbado's VPO M2.

Quote from: Ken B on June 26, 2014, 02:36:32 PM
I once blogged him as the world's worst music critic, after he dissed St Hogwood's Haydn symphonies. I remember one of his pet peeve reviews complaining about "waves of repellent beauty" from the orchestra.

Waves of repellent beauty?? God, talk about pretentious.

I saw one article of his where he was bitching about Ades and blamed the British press for "trying to make the next Britten". I can totally see his point here. However, what on earth does that have to do with the music and why did it cause the rest of his review to have such a negative tone? I like Ades a lot, though not enough to go through lengths to defend him. That being said, I think that review was unfair.

Quote from: EigenUser on June 26, 2014, 05:39:14 PM
Waves of repellent beauty?? God, talk about pretentious.

I saw one article of his where he was bitching about Ades and blamed the British press for "trying to make the next Britten". I can totally see his point here. However, what on earth does that have to do with the music and why did it cause the rest of his review to have such a negative tone? I like Ades a lot, though not enough to go through lengths to defend him. That being said, I think that review was unfair.

I read that review. He is right about the Brits and the eternal search for the new Britten, but the psychologizing Ades was just absurd.

"Please no negative comments because I fell a headache coming .This review was written under the influence of cheap bourbon." (http://www.amazon.com/exec/obidos/ASIN/B00IDRVY6G/?tag=goodmusicguideco)

I see someone else checked out Ken's Box.

I'm sure others have noticed this: the cover photo from Karajan's live Mahler 9 was recycled for the used-bin staple "Adagio Karajan" (and for an extra touch of class, they superimposed one of those photos of birds flying over the ocean at sunset that were popular in the '70s).

[asin]B000001GK9[/asin]
[asin]B000001GMK[/asin]

Today, as I put the Mahler on, I thought it might be fun to check the amazon reviews for "Adagio Karajan." Needless to say, they are heavy on 5-star ratings, but overall the comedic value was less than I expected. Still, I did enjoy this nugget (http://www.amazon.com/review/R32GW8RR1YWDJS/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B000001GMK):

Quote
Don't ask me why, but it would seem that conducting Pachelbel was something he didn't enjoy.

Karajan Livingston Seagull

Quote from: karlhenning on July 16, 2014, 05:29:53 AM
Karajan Livingston Seagull

For some reason that strikes me as devastatingly funny.  Maybe that says something about me--or Karajan...

Today at MusicWeb, I foam at the mouth in rage over the composer Ludovico Einaudi (http://musicweb-international.com/classrev/2014/Sep14/Enaudi_passagio_88883784082.htm).

(http://musicweb-international.com/classrev/2014/Sep14/Enaudi_passagio_88883784082.jpg)

"This music could not ask for a better performer. In fact, it probably could not bribe one....Ludovico Einaudi's music offers a generic uplift that's inferior to the real thing, and clueless as to why we might ever need it. This is not music to heal wounds; it is music to pretend wounds do not exist. This music is numbing, insulting and delusional."

Quote from: Brian on August 31, 2014, 12:59:09 PM
Today at MusicWeb, I foam at the mouth in rage over the composer Ludovico Einaudi (http://musicweb-international.com/classrev/2014/Sep14/Enaudi_passagio_88883784082.htm).

(http://musicweb-international.com/classrev/2014/Sep14/Enaudi_passagio_88883784082.jpg)

"This music could not ask for a better performer. In fact, it probably could not bribe one....Ludovico Einaudi's music offers a generic uplift that's inferior to the real thing, and clueless as to why we might ever need it. This is not music to heal wounds; it is music to pretend wounds do not exist. This music is numbing, insulting and delusional."

Wow, I just got a blurb from the publisher:
"Uplift ... Einaudi is a very sincere [arist] ... audiences have found that Einaudi's music moves them ...  truly profound ..." -- Music Web International
That was fast!
















>:D just kidding

They have to be music reviews? The Amazon reviews here are fun. Plus the Q and A.

[asin]B005MR3IVO[/asin]

Quote from: Ken B on September 01, 2014, 07:47:36 PM
They have to be music reviews? The Amazon reviews here are fun. Plus the Q and A.

Some very clever stuff. A real hoot!

I got hate mail!!!!!!!!!!!!!!!!!!!!!

I reviewed a disc called "Absinthe". (http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.htm)

(http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.jpg)

Notice the cover art of the performers as bartenders.

From my review:

QuoteThe performers are fantastic, and so's the sound. Everyone seems to have had a lot of fun making this album. Oh! I thought of a criticism. This album should not be called "Absinthe". It should be called "Macarons". The last time I had absinthe, my friend got black-out drunk and did some cruel things we both regretted. The last time I had macarons, I was on a boulevard in Paris, at breakfast-time, having dazzling vanilla bean macarons from Mori Yoshida, feeling a heady combination of excitement and inner peace. So forget about absinthe. This disc won't give you a hangover or hallucinations or an urge to do stupid things. This disc is macarons.

Get an assortment of pastries, then use your computer to rearrange the tracks for a wine-tasting. Pair the Schocker pieces with brut rosé champagne, Reynaldo Hahn with an Alsace pinot blanc, and Nicolas Bacri with a dark, bold red, perhaps something from the Languedoc or Bandol. Save Satie for the end, and present it with something sweet.

Behold, the hate mail I got (http://members2.boardhost.com/MusicWebUK/msg/1417522969.html)!!

QuoteBoozy Brian

Does Brian Reinhart consider the CD an acceptable purchase for those of us who are teetotallers, particularly those whose earlier lives have been blighted by the alcoholic self-indulgences of others?

Quote from: Brian on December 02, 2014, 06:24:46 AM
I got hate mail!!!!!!!!!!!!!!!!!!!!!

I reviewed a disc called "Absinthe". (http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.htm)

(http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.jpg)

Notice the cover art of the performers as bartenders.

From my review:
Behold, the hate mail I got (http://members2.boardhost.com/MusicWebUK/msg/1417522969.html)!!

I read this post while finishing some macaroni.  8)

Quote from: Brian on December 02, 2014, 06:24:46 AM
I got hate mail!!!!!!!!!!!!!!!!!!!!!

I reviewed a disc called "Absinthe". (http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.htm)

(http://www.musicweb-international.com/classrev/2014/Dec14/Absinthe_FDS58022.jpg)

Notice the cover art of the performers as bartenders.

From my review:
Behold, the hate mail I got (http://members2.boardhost.com/MusicWebUK/msg/1417522969.html)!!

Lucky for you Einaudi fans are too stoned to email!

Does he think, because he is virtuous, there will be no counterpoint and I.P.A.?

(https://alwaysmorecakesandale.files.wordpress.com/2012/07/cropped-cakes_ale_by_bill_nicholson_jpg-wwwderbycitypccouk.jpg)

This made my day, and it is only 6:30AM here (I like Boulez, but I do not like his early piano works):

http://www.amazon.com/review/RQ914TTZ4SGYZ/ref=cm_cr_pr_cmt?ie=UTF8&ASIN=B00000147K#wasThisHelpful

Quote
My niece bought this CD mistakenly after she was advised by my sister to buy a Berlioz album as a gift for me. As they say, 'it is the thought that counts', and I was happy that she was thouhtful enough to get a gift for her aunt on her birthday.

Having never heard of this composer before, I thought I may enjoy the CD anyway. How wrong I was.

On this album one will not find a single touching moment or memorable melody. It is almost as if the composer is a sadist intent on hurting his listeners. I actually wondered if it should be considered a talent to be able to make music sound so unmusical. I speak in all sincerity when I say this is the worst music I have heard in my entire life.

I saw that, fortunately, this page contains samples of this "music", so I needn't speak of it at length as you can hear for yourself how truly ghastly it is.

This man clearly needs to redirect his interests, as any talents he may have reside outside the world of music.

You would do well to steer clear of this album unless you have a strong masochistic streak.

Darn those Frenchies with their confusing names...

Hey Mirror Image, are you Transfigured Knight on Amazon? Because I found that person's review of "Marsalis Plays Monk" and was curious how they would rate the rest of the Standard Time series.

Quote from: Brian on December 19, 2014, 05:00:51 AM
Hey Mirror Image, are you Transfigured Knight on Amazon? Because I found that person's review of "Marsalis Plays Monk" and was curious how they would rate the rest of the Standard Time series.

He is.

Quote from: Brian on December 19, 2014, 05:00:51 AM
Hey Mirror Image, are you Transfigured Knight on Amazon? Because I found that person's review of "Marsalis Plays Monk" and was curious how they would rate the rest of the Standard Time series.

I am and Marsalis Plays Monk wasn't a good recording the best I can remember.

Quote from: James on December 19, 2014, 05:52:36 AM
Boulez's Piano Sonatas are the essence of the man, my favorites out of everything he has done ... bonafide masterpieces, you should give them more time to grow on you - you will like them eventually if you already like Boulez's other stuff.

Perhaps one day, but these were the first serialist works I ever heard and they put such a bad taste in my mouth that I disregarded Boulez entirely for a while (too long). It isn't that I don't think that they are compositions of merit. It's just that I don't enjoy them now.

BTW, even if I liked them, I would still find the review just as amusing.

Quote from: Mirror Image on December 19, 2014, 05:44:30 AM
Marsalis Plays Monk wasn't a good recording the best I can remember.

  I believe you! I don't dislike Marsalis, but the idea of him trying to play Monk makes me a bit nauseous.  His "Live at Blues Alley" is rip-roaring. It's over-intellectualized, but played with audacity by a group with phenomenal technical chops. Got rid of all my other (Wynton) Marsalis stuff 20 years ago (I liked Brandon better, but haven't played any of his music since the 90s, I think). 

Quote from: Mookalafalas on December 19, 2014, 06:28:34 AM
the idea of him trying to play Monk makes me a bit nauseous

An entry for Cato's Grammar Grumble! From an English prof!
My cup runneth over!!!

>:D >:D >:D >:D :laugh: :laugh: 8)

Quote from: Ken B on December 19, 2014, 06:35:06 AM
An entry for Cato's Grammar Grumble! From an English prof!
My cup runneth over!!!

>:D >:D >:D >:D :laugh: :laugh: 8)

  Supposed to be nauseated rather than nauseous?  Eventually usage will always trump the rule-book...frankly, I would feel pompous saying "nauseated". Next time I'll be more careful of my grammar and say "Makes me feel like ralphing." ;)

Quote from: James on December 19, 2014, 06:24:48 AM
You must be young if this sort of thing is amusing ..

Indeed. 23.

But, if you are implying that I won't be able to have a sense of humor even about some of the most enduring pieces (regardless of what I think of them) when I'm older -- well... I'd hate to lose that.

Quote from: EigenUser on December 19, 2014, 10:26:11 AM
Indeed. 23.

But, if you are implying that I won't be able to have a sense of humor even about some of the most enduring pieces (regardless of what I think of them) when I'm older -- well... I'd hate to lose that.

Don't worry.   I laughed my head off at that.  I am even willing to bet that Stockhausen would have chuckled over it.  And my avatar shows Ligeti's views.

Oooohhh, would I have known (or remembered) I could have posted so many things here.

But better get started now. I came across this today - hilarious... 8)

[asin]B00006RHQJ[/asin]

QuoteWhilst it is good to hear the composers Sacred Works of the era, it is really disappointing however when it is apparent that the soloists really don't believe what they are singing, and can't be understood!
As a Christian it is really obvious when this is the case.

Huhhh?  ???

Q

Quote from: EigenUser on December 19, 2014, 10:26:11 AM
Indeed. 23.

But, if you are implying that I won't be able to have a sense of humor even about some of the most enduring pieces (regardless of what I think of them) when I'm older -- well... I'd hate to lose that.

??? ???
No-one told you?? Seriously?  :o
When you turn 33 your penis falls off. Hard to laugh at anything after that.

I found it funny and have nothing against Boulez' music. The fun starts of course with the niece taking Boulez for Berlioz and one has to admire the staunch aunt for listening thorugh the whole disc at all, so the description is not even the most funny thing for me. And if one looks up historical criticism of Berlioz some common tropes might be detected.

Oh man, Dave Hurwitz is HILARIOUS today.

"I have no doubt that if the sun were to die out and there was just enough energy left to launch an interstellar mission to save humanity, the British recording industry would scuttle the whole project to use the scarce remaining resources to record another Elgar series."

"English critics generally detest anything in a performance that might make them pay attention to it."

http://www.classicstoday.com/review/will-always-elgar/

Quote from: Brian on February 11, 2015, 09:53:29 AM
Oh man, Dave Hurwitz is HILARIOUS today.

"I have no doubt that if the sun were to die out and there was just enough energy left to launch an interstellar mission to save humanity, the British recording industry would scuttle the whole project to use the scarce remaining resources to record another Elgar series."

"English critics generally detest anything in a performance that might make them pay attention to it."

http://www.classicstoday.com/review/will-always-elgar/

David Hurwitz, I misjudged thee.
*raises a respectful pint*

Quote from: Brian on February 11, 2015, 09:53:29 AM
Oh man, Dave Hurwitz is HILARIOUS today.

"It wasn't worth the death of the human race to release them."

:D :laugh: :D

Sarge

Quote from: Ken B on February 11, 2015, 09:57:46 AM
David Hurwitz, I misjudged thee.
*raises a respectful pint*

You can spit out your brew...Slatkin's Elgar received a 10/10

Leonard Slatkin's vital and idiomatic readings catch the spirit of the music while recreating that uniquely Elgarian sound world. Symphony No. 1 fairly crackles with energy thanks to Slatkin's mastery of the score's rhythmic structure–especially in the dramatic first movement. - See more at: http://www.classicstoday.com/review/review-10499/?search=1#sthash.5G6bVZnP.dpuf

Sarge

Quote from: Sergeant Rock on February 11, 2015, 10:57:01 AM
You can spit out your brew...Slatkin's Elgar received a 10/10

Leonard Slatkin's vital and idiomatic readings catch the spirit of the music while recreating that uniquely Elgarian sound world. Symphony No. 1 fairly crackles with energy thanks to Slatkin's mastery of the score's rhythmic structure–especially in the dramatic first movement. - See more at: http://www.classicstoday.com/review/review-10499/?search=1#sthash.5G6bVZnP.dpuf

Sarge

Even Homer nods.  >:D :laugh:

I own Slatkin's Elgar. Partly because of the 10/10. But maturity means taking responsibility for your own mistakes. I had heard Elgar's symphonies and bought them anyway.

Wait, I'm confused, don't we all agree Slatkin's Elgar rocks?

Quote from: Brian on February 11, 2015, 12:06:13 PM
Wait, I'm confused, don't we all agree Slatkin's Elgar rocks?

It extracts the most that can be extracted.

On a completely different topic, have you met my friend Bob? No-one gets more toothpaste from a nearly empy tube than Bob; he's a master.

Hurwitzer has done it again! And this time he may be right. I like reading his reviews whether I agree or not, the man is entertaining. I bought this Venzago doing Bruckner 5th, and I do enjoy hearing it perhaps for sheer interest (Venzago was very successful with Bruckner's 2, 4 and 7 I believe) but Venzago is extreme, and this one doesn't top any of my other 5th recordings, maybe not even close or in the same zip code. But I enjoy hearing it, which is the best way I can put it.
Hurwitzer, however, has no issue  humorously throwing it in the dumpster...

Alvin and the Chipmunks Play Bruckner
Yes, you saw it correctly. Asking the Tapiola Sinfonietta (about 46 members) to play Bruckner's Fifth Symphony, his grandest work before the Eighth, is like asking Alvin and the Chipmunks to perform Wagner's Ring. All of it. The result is cartoonish when not simply silly, emphasized at every point by Mario Venzago's absurdly rushed tempos and loopy but necessary balances (to allow the strings, 28 strong, to be heard at all). CPO calls this series "A Different Bruckner", but really it's nothing more than stupid Bruckner; and at a time when stupid Bruckner is all the rage, that's saying a lot.
http://www.classicstoday.com/review/alvin-chipmunks-play-bruckner/

[asin]B00N5EINIY[/asin]

Quote from: TheGSMoeller on March 04, 2015, 12:55:12 PM
(Venzago was very successful with Bruckner's 2, 4 and 7 I believe)

I can't even agree with that. I'm with the Hurwitzer here. Venzago's Bruckner belongs in the dumpster. I think there is something clearly fishy going on when a conductor for a project like this can't even successfully enlist a single orchestra to do the whole thing. It seems that whichever band works with him wants nothing further to do with him after one disc.

In case you missed it, last week at ClassicsToday David Hurwitz and David Vernier posted about their favorite...kitchen utensils.

"Having listened carefully to both, I agree that there's a certain degree of reverberation in the new Naxos disc, but while Dan's ears detect "the acoustic properties of a barn" my own pick up the sort of sound that might be emanating from a medium-sized bathroom." - Rob Maynard at MusicWeb (http://musicweb-international.com/classrev/2016/Jul/Auber_overtures_v1_8573553.htm)

I don't know about you but this one is a REAL screamer:

http://www.classicstoday.com/review/review-10703/?search=1 (http://www.classicstoday.com/review/review-10703/?search=1)

(just read the part regarding dirty geriatric types)

Quote from: PerfectWagnerite on July 26, 2016, 07:56:34 AM
I don't know about you but this one is a REAL screamer:

http://www.classicstoday.com/review/review-10703/?search=1 (http://www.classicstoday.com/review/review-10703/?search=1)

(just read the part regarding dirty geriatric types)

"Even better, thanks to the miracle of the Internet, you can order on line and never be seen with it in public."

Yes, we Havergalians heretofore had to keep the "Gothic" hidden under our shabby, full-length raincoats when out and about in public   ;D

Sarge

This other one is a favorite of mine also:

http://www.classicstoday.com/review/review-11617/?search=1 (http://www.classicstoday.com/review/review-11617/?search=1)

The highlight of which is:

If you like Mahler's Eighth, stick with Nagano, Kubelik (Audite), Bertini, Tennstedt, Gielen II, Chailly, Bernstein I, or any number of recordings made by conductors who have more going for them than the fact that they happened to show up breathing on the day of the concert.

Quote from: PerfectWagnerite on July 26, 2016, 09:40:23 AM
This other one is a favorite of mine also:

http://www.classicstoday.com/review/review-11617/?search=1 (http://www.classicstoday.com/review/review-11617/?search=1)

The highlight of which is:

If you like Mahler's Eighth, stick with Nagano, Kubelik (Audite), Bertini, Tennstedt, Gielen II, Chailly, Bernstein I, or any number of recordings made by conductors who have more going for them than the fact that they happened to show up breathing on the day of the concert.

A good read, and accurate. I have no idea why that version is still lurking on my shelves. I listed to it once and thought I ought to give it another chance, I never did. To the list of alternatives I add Wyn Morris, live at the Albert Hall, Solti, Sinopoli and Wit.

Mike

This one is also one of my favorite as well:

http://www.classicstoday.com/review/review-3110/?search=1

But now you need to be a member to read it. I remember it got a "2" for performance because Hurwitz thinks it was "mediocre" and because

1) Solti took the exposition repeat in the final movement and not the first
2) Solti took Schubert's long accent marks as de-crescendos.

Nothing that would remotely quality it as getting a "2".

Just came across this one;

http://www.classicstoday.com/review/review-13068/ (http://www.classicstoday.com/review/review-13068/)

And you guys think I was calling Marin Alsop names...check out what the Hurwitzer calls our young conducting friend:

This isn't the sort of work you want to hear performed on the cheap by the Kazakhstan Philharmonic under flavor-of-the-month pretty boy conductor Nazgül Snezhek-Yéggun. Like a good chocolate truffle, if it isn't richly decadent and luxurious, it's just not worth the calories at any price.

Just to give this thread a bump...

Anyone seen this video?

https://www.youtube.com/watch?v=yTutmD40R9k&t=425s (https://www.youtube.com/watch?v=yTutmD40R9k&t=425s)

Check out this comment below:

IS there a nanny goat in the room, or is that just Drucker? ONe of the worst tones ever in a major orchestra. Benny Goodman sounded better. Must have been those Rico reeds, old Stan was using.  Bernstein was the ONLY major conductor that put up with that HAM

Now I agree Druckner no way sounds liquid smooth like Robert Marcellus but to call him a HAM is stretching it a bit...

I did not know where else to put this.
The title is

Eric Lu review – Leeds piano competition winner goes missing in action

Here's a sample of what's written:

"More worrying still was the sheer lack of personality in the playing, and the apparent absence of any affection for the music he had chosen to perform".


I don't know if this is a badly done review but it's a pan of concert by a young pianist. I was a little taken aback by this once I started to imagine what it might be like to be a young musician receiving this kind of reaction - especially in a major publication like the Guardian. I don't have a firm position one way or the other but it did make me wonder if this is really necessary. It's not like there aren't plenty of other concerts one can attend any night of the week. Why bother pooping on someone's career even if they are terrible? On the other hand, it IS a tough world and people want to know what they're getting for their money.
Still, I myself would have a hard time justifying printing this.

https://www.theguardian.com/music/2019/dec/10/eric-lu-review-wigmore-hall-london (https://www.theguardian.com/music/2019/dec/10/eric-lu-review-wigmore-hall-london)

Readership at MusicWeb has increased 50% since everyone in the US/UK/Europe started staying at home all the time.

Quote from: Brian on April 14, 2020, 08:55:02 AM
Readership at MusicWeb has increased 50% since everyone in the US/UK/Europe started staying at home all the time.

:laugh:  I've been on there a bit over the past week when I never am otherwise.

Quote from: Brian on April 14, 2020, 08:55:02 AM
Readership at MusicWeb has increased 50% since everyone in the US/UK/Europe started staying at home all the time.

Nice!  :)

I used to be a frequent reader, now an occasional one.

If this leads to more people finding their way to more beautiful music, I'm all for it.  :) :)

Q

I always check musicweb. The one consistent source of reviews I read, though my purchasing is way down. I have all the standard repertoire I need, and find it increasingly difficult to find new repertoire of interest (since I have a pretty extensive collection of the areas that interest me). F or example the number of new releases of interesting baroque operas not already available in good recordings has slowed to a trickle, though I found this recent aquisition very good and interesting:

(https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fstorage.highresaudio.com%2Fweb%2Fimgcache%2Fca8751affa7fabacb7aaba54c4c0a879%2Fxh8o6j-handelalmi-preview-m3_350x350.jpg&f=1&nofb=1)

Very different from the Italian Handel.

Classics Today is preparing to launch a new redesigned website in a few weeks.

Lemme guess... Hurwitz dot com?

I just found out that the reason our local (Dallas) classical music critic has so many wrong-headed opinions about chamber music being "overplayed," orchestras being "too loud," etc. - is that he is a Norrington follower who believes string musicians used vibrato only in the rarest of long notes until the 1920s! He just wrote that Mahler "went to his grave without ever hearing" string vibrato! ???

Quote from: Brian on March 19, 2024, 12:49:16 PMI just found out that the reason our local (Dallas) classical music critic has so many wrong-headed opinions about chamber music being "overplayed," orchestras being "too loud," etc. - is that he is a Norrington follower who believes string musicians used vibrato only in the rarest of long notes until the 1920s! He just wrote that Mahler "went to his grave without ever hearing" string vibrato! ???

Woof!

Quote from: Brian on March 19, 2024, 12:49:16 PMI just found out that the reason our local (Dallas) classical music critic has so many wrong-headed opinions about chamber music being "overplayed," orchestras being "too loud," etc. - is that he is a Norrington follower who believes string musicians used vibrato only in the rarest of long notes until the 1920s! He just wrote that Mahler "went to his grave without ever hearing" string vibrato! ???

I wonder how he would explain the recordings left by Mahler acolytes like Bruno Walter (who premiered Das Lied von der Erde) and Klemperer.  I can't imagine either being bullied into playing the music other than the way they wanted to, or that they were slavish followers of some fashion that only started in the 1930s.  And there were thousands of musicians who lived and worked across that divide who supposedly all changed their playing style overnight.  This gets into Mud Flood levels of delusion.