Please post links to intersting Classical Music blogs and personal webpages! :)Seems very interesting, but too much frenching for me.
My first contribution - mainly of interest for those who read French... :-\
A very highly sophisticated blog, covering all aspects of art, but music in particular - with main focus on Early Music & Baroque. It includes reviews of recordings and samples.
JardinBaroque (http://jardinbaroque.mabulle.com/index.php/Prima-la-musica)
Q
Please post links to intersting Classical Music blogs and personal webpages! :)
Impossible to do this humbly, but here's mine...
http://www.weta.org/fmblog (http://www.weta.org/fmblog)
What do you think of my Blog?, my Blog is now one year old, and i wondered what people think of it on this forum, i'm quite biased for it, but would like to get an idea from anyone seeing it for the first time, my Blog is a personal journal of my listening activities, and yet it's nice to have an audience too, my Blog is roughly 75-80% Classical.
So take a look, http://octoruss.blogspot.com/ tell me what you think, im very much interested in, Questions / Improvements / Criticisms / Advice / Suggestions / Praise even, feel free to comment, i won't get upset if you don't like it, i just want to get a feel for what others think.
(http://1.bp.blogspot.com/_y_1Nw_eemq8/TRZWzy75XVI/AAAAAAAABgo/zck4IbAszTw/S1600-R/Octo_Russ%2B7.png)
What do you think of my Blog?, my Blog is now one year old, and i wondered what people think of it on this forum, i'm quite biased for it, but would like to get an idea from anyone seeing it for the first time, my Blog is a personal journal of my listening activities, and yet it's nice to have an audience too, my Blog is roughly 75-80% Classical.
So take a look, http://octoruss.blogspot.com/ tell me what you think, im very much interested in, Questions / Improvements / Criticisms / Advice / Suggestions / Praise even, feel free to comment, i won't get upset if you don't like it, i just want to get a feel for what others think.
Please post links to intersting Classical Music blogs and personal webpages! :)
My first contribution - mainly of interest for those who read French... :-\
A very highly sophisticated blog, covering all aspects of art, but music in particular - with main focus on Early Music & Baroque. It includes reviews of recordings and samples.
JardinBaroque (http://jardinbaroque.mabulle.com/index.php/Prima-la-musica)
Q
Here is my blog about my favorite recording company, Telarc. They record mostly Classical and Jazz.
The Telarc High Resolution Fan Club (http://telarc-hires.blogspot.com/)
2: Bretón: Escenas Andaluzas (Bolero) CDB8796Those are some great choices sir - welcome to GMG, maybe keep us updated! :) And as my friend from India asks - who's getting married? :)
Naxos 8572076 (track 1) 07:36 11:46
11: Tchaikovsky: 2nd Symph - 2nd mvmnt CDR6090
Telarc 80131 (Track 2) 07:12 83:12
14: Keillor/ Von Stade: Cat Came Back CDK
RCA 09026-61161-2 (track 1) 03:37 3:37
18: Haydn: C-major Cello Concerto 3rd mvmnt CDH4304
Naxos 8.550059 (track 3) 06:32 41:15
I just bought the domain name fjhaydn.com . I suppose the next step is obvious. I will send out invites to the grand opening, although I expect it will be a little while before it is ready to go. Hopefully it will be a place that Haydnistos can go to gather and share information. :)
8)
I just bought the domain name fjhaydn.com . I suppose the next step is obvious. I will send out invites to the grand opening, although I expect it will be a little while before it is ready to go. Hopefully it will be a place that Haydnistos can go to gather and share information. :)
8)
I just bought the domain name fjhaydn.com . I suppose the next step is obvious. I will send out invites to the grand opening, although I expect it will be a little while before it is ready to go. Hopefully it will be a place that Haydnistos can go to gather and share information. :)
8)
When it rains, it pours. Raining Shostakovich in this case, not the most regularly performed composer in Munich, and now the fifth Symphony in as many days! And incidentally the Fifth Symphony this time – part of the regular Bavarian Radio Symphony Orchestra season with veteran conductor Polish Stanisław Skrowaczewski on the rostrum.
Stanisław Skrowaczewski is one of those fascinating cases of great, acknowledged, prize-winning, Pulitzer-nominated achievement that yet manages to remain underestimated. The one-time Nadia Boulanger student has worked with the perfectly underestimatable Hallé and Minnesota orchestras. He has recorded superb, but of course underestimated Shostakovich Symphonies (1 & 6, 5 & 10) with the former. And his is by far the best underrated Bruckner Symphony Cycle (with the Saarbrücken RSO on Oehms. Quote Skrowaczewski: "For me, Bruckner is one of the greatest composers, even though I cannot exactly say why." A man after my own heart!)...
OK, well I recently embarked on an insane project - to listen to every piece of music mentioned in the June 2012 edition of Gramophone Magazine (because it was there!) and blog about each one. The blog is called Wheels of Cheese, in celebration of the time I saw Sir Simon Rattle buying two enormous wheels of cheese at the Covent Garden market at the interval of Haitinck conducting Parsifal.He always struck me as slightly cheesy; at least his hair did.
The link is here
http://www.peter-salmon.co.uk/petersalmon/category/wheels-of-cheese/
Cheers
Pete
The actual List:I've tried doing this exercise, and it is really difficult, so I do appreciate just how hard to it is to narrow down to a handful of discs. I like some of the choices (actually I like almost all of the choices on a personal note), but would aim for an even broader range of composers. So I would try to slip in this one (I like it has a mix of composers, several not otherwise represented - Prokofiev, Britten, Dukas, etc. - as well as a mix of pieces):
Probably too basic for most GMG-lers... but would be interesting to know if you've come to classical music via totally different or similar experiences... or what your choices would be.
(http://2.bp.blogspot.com/-Fgpw062ytpI/US4nwTmDnhI/AAAAAAAAGNY/x1G7i9EJkE8/s1600/FORBES_Rational-Bias_laurson_600.jpg)
Sound Advice:
How To Build A Top Quality Classical Music Library For $100
http://www.forbes.com/sites/laursonpieler/2013/03/05/sound_adivce_how-to-build-a-top-quality-classical-music-library-for-100/ (http://www.forbes.com/sites/laursonpieler/2013/03/05/sound_adivce_how-to-build-a-top-quality-classical-music-library-for-100/)
The other composer that is missing is Brahms (well, Schumann too, but harder to mix him in). I think I'd try to work him in by replacing the Dvorak/Tchaikovsky disc (maybe a Brahms/Dvorak disc, of which there are several). Also, opera is missing, so I might try to replace the Strauss with Strauss + something else (not more Strauss) or perhaps an arias disc. But then perhaps you feel the selections become too broad without enough focus, a fair comment. There is no right answer, but a fun exercise.
But, wait! He's dead . . . so he's no longer contemporary.
LOL! Would you believe he's hanging out with Jim Morrison and Elvis in a secure secret location? :)This conversation might take a Maxwellian (as in Smart) turn..
This conversation might take a Maxwellian (as in Smart) turn..
I just posted this article, ANTECEDENTS OF AMBIENT MUSIC (https://musicakaleidoscope.wordpress.com/2015/03/31/antecedents-of-ambient-music/), on my music blog, musicakaleidoskopea (https://musicakaleidoscope.wordpress.com/).
I also have some composer interviews and a section where I post clips of my recent music.
It is a very interesting article. Few random thoughts...
- Did Satie compose Vexation as furniture music? The melody is so strange and characteristic that it seems difficult to ignore it. (Not saying that the piece could not have influenced later ambient music.)
- Riley followed Eno? His hypnotic organ works The Persian Surgery Dervishes (recorded in 1972) and The Descending Moonshine (recorded in 1975) predated Music for Airports (1978).
Fresh from ionarts:
(http://1.bp.blogspot.com/-YUHSjHlV2Ro/UqB_A8bgCxI/AAAAAAAAHWQ/1tFdkiDMHEo/s1600/KonzerthausMozartSaal.png)
JUN 12, 2015
Ionarts-at-Large: Heinz Holliger, Haydn-Master
If anyone can elicit great—or even just respectable—Haydn from the Vienna
Chamber Orchestra at a musician-unfriendly 10.30am, I should think it’d be
Heinz Holliger. Ever since hearing the septuagenarian conduct the Camerata
Salzburg at the Mozartwoche in Salzburg some years back (review here), I’ve
considered him the finest living Haydn conductor I know of. Perhaps some-
thing to do with him being a composer and thus communicating from one
bird of a feather to the other?
To hear Holliger in Haydn was consequently the main reason to go to the
Mozart-Saal of the Wiener Konzerthaus, the building’s gem of a hall and
probably as ideally suited to this kind of music—if not more so—than their
neighbor’s more famous Goldener Saal.
The first look at the program hurt and baffled, though...
(http://ionarts.blogspot.com/2015/06/ionarts-at-large-heinz-holliger-haydn.html/)
Sorry, the page you were looking for in this blog does not exist.
But Jens sent me here himself... :(
8)
Fresh from ionarts:
(http://1.bp.blogspot.com/-YUHSjHlV2Ro/UqB_A8bgCxI/AAAAAAAAHWQ/1tFdkiDMHEo/s1600/KonzerthausMozartSaal.png)
JUN 12, 2015
Ionarts-at-Large: Heinz Holliger, Haydn-Master
If anyone can elicit great—or even just respectable—Haydn from the Vienna
Chamber Orchestra at a musician-unfriendly 10.30am, I should think it’d be
Heinz Holliger. Ever since hearing the septuagenarian conduct the Camerata
Salzburg at the Mozartwoche in Salzburg some years back (review here), I’ve
considered him the finest living Haydn conductor I know of. Perhaps some-
thing to do with him being a composer and thus communicating from one
bird of a feather to the other?
To hear Holliger in Haydn was consequently the main reason to go to the
Mozart-Saal of the Wiener Konzerthaus, the building’s gem of a hall and
probably as ideally suited to this kind of music—if not more so—than their
neighbor’s more famous Goldener Saal.
The first look at the program hurt and baffled, though...
(http://ionarts.blogspot.com/2015/06/ionarts-at-large-heinz-holliger-haydn.html)
Overview and Analysis of the Liszt Piano Sonata in B Minor, S. 178
It is likely that Liszt derived the idea of thematic transformation as a unifying process from Schuberts Wanderer Fantasy, a work which he himself transcribed for piano and orchestra in 1851. Schuberts themes run through all four movements of the fantasy in varied forms The four movements are played without a break, and outline a symmetrical key scheme C, E, A flat, C. This kind of formal plan held a strong attraction for Liszt, and many of the works of his Weimar period follow this model, besides the Piano Sonata in B Minor also the first piano concerto is another example.
The sonata was published in the spring of 1854 and dedicated to Robert Schumann. Liszt meant this as a reciprocal gesture to Schumann in response to his being the dedicatee of the latters Fantasy in C major (1839), a work that Liszt described as sublime. However, Schumann never knew of the B Minor Sonatas existence since by the time a copy of the newly published work arrived at the Schumanns home in May, 1854, Schumann was already at the asylum at Endenich.
Clara Schumann could have included the work in her repertory, if she had been so inclined, but she chose not to do so. In her diary she described the sonata as a blind noise and yet I must thank him for it. It really is too awful. (Litzmann, Berthold, 1902-08)
Unfortunately, Claras opinion was not atypical. During this period, and especially in this part of Germany, Liszt was often treated to an unkind dismissal by the musical society. When the work received its première performance, in Berlin, on January 22, 1857, nearly four years after its composition, it provoked a minor scandal among the conservative critics, from which it recovered with difficulty. Rarely did such great music get off to a less promising start. (Walker, 1983)
Liszt always felt that the new music he and his group (Chopin, Berlioz, Wagner) were writing needed new forms for expression. He did not see the sense in merely pouring their new pudding into an old form. Consequently he created new forms which would allow him greater flexibility while still maintaining unity (and echoing the old sonata form in basic structure). This he did with the Sonata, the Concerto in E flat and the Faust Symphony.
The principle which he established was an important one for future generations; the serial technique of Schoenberg, for instance, uses precisely the methods of Liszts thematic transformation within the framework of an entirely different language, and it is even possible that future twelve-note composers will turn to forms resembling Liszts rather than those of the classical composers in the search for a type of framework to correspond to their new methods of expression. In any case Liszts Sonata remains a landmark in the history of nineteenth-century music, not only as a highly successful application of new technical methods, but as a fine, moving and dramatic work in itself. (Buechner and Searle, 2013)
No other work of Liszt has attracted anything like the same amount of scholarly attention as the B-minor Sonata. The number of divergent theories it has provoked from those of its admirers who feel constrained to search forbidden meanings are many.
The sonata is a musical portrait of the Faust legend , with Faust, Gretchen, and Mephistopheles themes symbolizing the main characters. (Ott, 1981)
The sonata is autobiographical; its musical contrasts spring from the conflicts within Liszts own personality. (Raabe, 1931)
The sonata is about the divine and the diabolical; it is based on the Bible and on Miltons Paradise Lost. (Szász, 1984)
The sonata is an allegory set in the Garden of Eden; it deals with the Fall of Man and contains God, Lucifer, Serpent, Adam, and Eve themes. (Merrick, 1987)
The sonata has no programmatic allusions; it is a piece of expressive form with no meaning beyond itself a meaning that probably runs all the deeper because of that fact. (Winklhofer, 1980)
Liszt was generally silent about this work and offered no words of any kind on the question of its program - or lack of it. (Walker, 1983)
The sonata unfolds in approximately 30 minutes of unbroken music. While its four distinct movements are rolled into one, the entire work is encompassed within the traditional Classical sonata scheme exposition, development, and recapitulation. Liszt has effectively composed a sonata within a sonata, which is part of the work's uniqueness.
Liszt was very economical with his thematic material, indeed, the very first page contains the three motivic ideas that provide the content, transformed throughout, for nearly all that follows.
RTRH (https://musicakaleidoscope.wordpress.com/2015/07/09/overview-and-analysis-of-the-liszt-piano-sonata-in-b-minor-s-178/)
Nadia Boulanger : teacher of the century (https://musicakaleidoscope.wordpress.com/2015/09/16/nadia-boulanger-teacher-of-the-century/)The list of some of her prominent music students in Wikipedia is indeed astonishing.
(http://www.bach-cantatas.com/Pic-Bio-B-BIG/Boulanger-Nadia-01[1966].jpg)
Nadia Boulanger, (born Sept. 16, 1887, Paris, France—died Oct. 22, 1979, Paris), conductor, organist, and one of the most influential teachers of musical composition of the 20th century. In addition to Aaron Copland, Boulanger’s pupils included the composers Lennox Berkeley, Easley Blackwood, Marc Blitzstein, Elliott Carter, Jean Françaix, Roy Harris, Walter Piston, and Virgil Thomson.
Latest on Forbes.com:
Classical CD Of The Week: Liszt Inspections (http://www.forbes.com/sites/jenslaurson/2016/03/09/classical-cd-of-the-week-mozart-sonatas-for-fortepiano/#34f671756fd2/#2202ad6627f0)
Wolfgang Amadeus Mozart, Keyboard Sonatas vol.8 & 9, Kristian Bezuidenhout (fortepiano), (Harmonia Mundi)
There have been fortepianists before Ronald Brautigam and Kristian Bezuidenhout upon whose shoulders those two might be said to stand. But none had managed to so convincingly bring the fortepiano into the mainstream.
(http://blogs-images.forbes.com/jenslaurson/files/2016/03/Forbes_Classica-CD-of-the-Week_Harmonia-Mundi_Mozart_Bezuidenhout_Sonatas1600-1200x469.jpg)
http://www.forbes.com/sites/jenslaurson/2016/03/09/classical-cd-of-the-week-mozart-sonatas-for-fortepiano/ (http://www.forbes.com/sites/jenslaurson/2016/03/09/classical-cd-of-the-week-mozart-sonatas-for-fortepiano//#2202ad6627f0)
One of the reasons you are so taken by Brautigam is the fact he uses a fortepiano built by McNulty…. So..I was wondering what instrument Bezuidenhout was playing on this recording? :)
(hint: when reviewing a period performance - please mention the specifics of the instrument) Result after some googling: a copy of an 1805 Walter instrument by Paul McNulty.
I guess no surprise. :D But seriously: I agree that Bezuidenhout is one of the most gifted forte pianists around.
Q
I'm sorry, but isn't it mentioned right there: "The instrument used is a copy of an 1805 Watler & Son", fourth paragraph? (I'll fix that to "Walter, of course)
I overlooked .... I guess I wasn't quite awake yet - sorry about that! :)
Anyway, my point here is that you quite like the sound produced by McNulty, the builder.
McNulty produces instruments that sound quite bold and robust.
Q
latest on Forbes:First, there was some sort of error in the link - I have corrected it in my quote (you had an extra http in the first reference).
106 Years Mahler Eighth: The Best Recordings
(http://blogs-images.forbes.com/jenslaurson/files/2016/09/Mahler_conducting_Gustav_Mahler_laurson_Sy3_schli-1200x505.jpg)
http://www.forbes.com/sites/jenslaurson/2016/09/12/106-years-mahler-eighth-the-best-recordings/#2da82ef9be0c (http://www.forbes.com/sites/jenslaurson/2016/09/12/106-years-mahler-eighth-the-best-recordings/#2da82ef9be0c)
The Herrenchiemsee Festival is a royal treat for music, musicians, and especially audiences. Music doesn’t, in times where there are few kings and still fewer royalty that actively stoke the flames of high culture, enjoy surroundings like this anymore. Imagine, if you are familiar with it, the Versailles Hall of Mirrors. Now add six feet by which this hall beats out Versailles’, think the mirrors clear rather than dull, the arches of the windows higher and wider… and then sunlight flooding the floor, reaching through the white chiffon curtains as the evening sun goes down over Lake Chiemsee and the Herreninsel where Ludwig II’s castle sits like a golden Bird of Paradise (actually made of brick but clad with stone and marble) on an isolated nest of green, amid the sky-blue lake. Just behind the lake, the Alps begin to rise. On a sunny day, the setting is not just breathtaking, it is surreal.
These world premiere recordings will undoubtedly initiate a wonderful journey of rediscovery.
I’m startled by the originality and immediacy of all the included works: High baroque magnificence
woven with silver threads of austere Renaissance style… largely set in minor keys. Think of a melancholic
Zelenka, perhaps.
See my 'signature' if you're interested, also my section in the composer’s corner. :)
Jörg Widman’s Violin Concerto (reviewed in concert here) is a lyrical tour-de-force in which the violinist, dedicatee Christian Tetzlaff, who has performed the world premiere in 2007 in Essen, doesn’t get to take the bow of the strings for 30 minutes. You can hear the composer’s will to make contemporary violin concerto with every chance to enter the repertoire. You enjoy the success of it; it is a 21st Century concerto for the ages...
...If David Bösch’s direction was short on story, whether imposing or revealing, it succeeded in its chatty ways
and bleak-to-lively-in-10-seconds sets by Patrick Bannwart. The curtain opens to a naked black stage, scaffolding,
and archival ring binders...
Don't feel obliged to indulge my kibitzing, Jens; my ear finds the centenary of whose death we celebrate this year more fluid than whose death’s 100th anniversary we celebrate this year.
Carry on.
Latest on Forbes:
The 10 Best Classical Recordings Of 2016 (Re-Releases)
(https://pbs.twimg.com/media/C1FrKCuXEAAurdl.jpg:large)
http://www.forbes.com/sites/jenslaurson/2017/01/01/the-10-best-classical-recordings-of-2016-re-releases/#44c8a5e46bd0 (http://www.forbes.com/sites/jenslaurson/2017/01/01/the-10-best-classical-recordings-of-2016-re-releases/2/#7551580876a1)
Joy! The fourth movement of the Ninth Symphony, attached with super glue to the back of the program for the purposes of jubilation.
(http://3.bp.blogspot.com/-Xrc9pLRq6Dg/WKTDBxcJrMI/AAAAAAAAC9o/I77eUWtxCsIcYJG-mpsKO4wlUiFZgq-3gCK4B/s1600/tree_940_5a.jpg)
Cloud Cyclopaedia - Chant Cistercien
http://classicalcompass.blogspot.hu/2017/03/cloud-cyclopaedia-chant-cistercien.html (http://classicalcompass.blogspot.hu/2017/03/cloud-cyclopaedia-chant-cistercien.html)
The St. Gregory Society Schola : Palestrina and the Tridentine Mass
(https://musicakaleidoscope.files.wordpress.com/2017/03/holycrosscd.jpg?w=300&h=274)(https://musicakaleidoscope.files.wordpress.com/2017/03/new-xmas-cover-web1.jpg?w=300&h=281)
I was raised in the Catholic Church, educated at Jesuit schools and was an altar boy for several years from the age of eight, or so. I was taught enough of the Latin Mass to be able to assist the priest and recite the proper responses during the mass (we also had four years of Latin in high school). But then things changed in the mid-60s and the mass began to be said in the vernacular. I could appreciate, even at my young age, how much was lost (Gregorian chant exchanged for Peter, Paul and Mary influenced folk music) ... (https://musicakaleidoscope.wordpress.com/2017/03/22/the-st-gregory-society-schola-palestrina-and-the-tridentine-mass/)
I've said it before: the post-Vatican II Mass is theologically and aesthetically offensive. Giving up the glorious tradition of the Tridentine Mass for the heartbreaking sentimental kitsch that took its place was a disastrous decision.
The idea that giving it up in order to then actually communicate well with the target audience was a fine and honorable one.
Mass attendance (http://www.traditioninaction.org/religious/m002rpMisunderstandingMass.htm)has halved in the last four decades since Vatican II. (1) How can this be [...], when all changes in the Church were made in the name of making the Mass more appealing to the people – changing it from Latin to English, turning the altars around, involving the laity with dialogue and activities, permitting popular songs and guitars?
EDIT: I am Eastern Orthodox not Roman Catholic, but having attended the RC conciliar mass and the RC baptismal service I see where Catholic Tradiionalists are coming from.
As much as I appreciate the discussion sparked by my post, my article (https://musicakaleidoscope.wordpress.com/2017/03/22/the-st-gregory-society-schola-palestrina-and-the-tridentine-mass/) was more about the St. Gregory Society Schola recordings of Palestrina (also Victoria, Lassus and Desprez) - which are all excellent, especially considering they are an "amateur" choir (they've been doing this for 20+ years).
Hearing the polyphony with all the surrounding chant and propers offers a unique and contextually accurate experience. The recordings are highly recommended for those not put off by the liturigical setting.
;)
1.) Correlation, not causation. Abetted by incompetence. And guitars and/or sandals were not proscribed by VII. That was part of the local choice. And somehow a lot of Lutheran et al. congregations fared well with it... perhaps that's why it was copied.
80 (!) different Mozart Piano Sonata Cycles exist, by my count.
(http://ionarts.blogspot.com/2016/02/a-survey-of-mozart-piano-sonata-cycles.html)
(https://4.bp.blogspot.com/-dHHe314uB9I/WNQlK05m68I/AAAAAAAADSY/Eb4hrPGMkxY-M4PfBul3LZS8SqDJT5vewCLcB/s1600/01a.jpg)
Dolphin touch - Music of Narvaez
http://classicalcompass.blogspot.hu/2017/03/dolphin-touch-music-of-narvaez.html (http://classicalcompass.blogspot.hu/2017/03/dolphin-touch-music-of-narvaez.html)
(http://3.bp.blogspot.com/-Xrc9pLRq6Dg/WKTDBxcJrMI/AAAAAAAAC9o/I77eUWtxCsIcYJG-mpsKO4wlUiFZgq-3gCK4B/s1600/tree_940_5a.jpg)
THE HIDDEN BAROQUE : BJÖRN SCHMELZER, PETER PAUL RUBENS AND ORAZIO VECCHI (https://musicakaleidoscope.wordpress.com/2017/03/24/the-hidden-baroque-bjorn-schmelzer-peter-paul-rubens-and-orazio-vecchi/)
(https://musicakaleidoscope.files.wordpress.com/2017/03/71pumhtidl-_sl1200_.jpg?w=768&h=685)
Schmelzer uses narrative concepts for his recordings and interpretations, spinning webs of associations and cross references between periods, styles and genres. For his latest, he wishes to contrast the prima prattica polyphony (echoing an earlier time) and the Baroque painting style of Rubens, at whose funeral he posits the music was performed: “The deceased person inside the coffin was no less than the most famous of all Baroque painters, Peter Paul Rubens, and it is highly plausible that the Requiem Mass performed by the choir of the cathedral at this solemn occasion was an eight-part work including a polyphonic Dies irae, which had been printed in Antwerp 28 years beforehand and written by the Italian composer Orazio Vecchi".
Back in February of 2013, George Pieler and I wrote a column here on Forbes.com
(“Two Cents About Classical Music For $100”) on some of the market- and technology-
changes that affect this sneakily growing, more-important-than-you-think niche in
21st century entertainment: classical music. We followed this up with an actual list,
“How To Build A Top Quality Classical Music Library For $100” – which refers back
to a 2011 post on Tyler Cowen’s “Marginal Revolution”. Here’s the sequel.
The complete list on Amazon on CDs (http://amzn.to/2ry8uUo) – and as mp3s/streaming (http://amzn.to/2slcKEE).
Clavichord in the SouthWind
(https://1.bp.blogspot.com/-Oe4Qj3bgQiE/WSnH5-PqLsI/AAAAAAAAD4o/pJc6uTPH0wAHVa0WUr9CUvzRuvk6RieIgCEw/s320/3.png)
The cover says harpsichord.Yes, it's not a Wikipedia.....it's a diary only.
These are my favorite classical music blogs/sites:o >:(
slippedisc.com
Stumbled on to what seems to be the blog for Lynn Rene Bayley, if you're wondering where she went after (apparently) leaving Fanfare.
https://artmusiclounge.wordpress.com/
For the masochistic among us?
The absolute worst was - ditto MWeb - when they let some buffoon write anonymously (because he felt "too important in the industry" to reveal his name). Byzantion was his nome de plume on one of these platforms. Anonymity encourages the worst in us as is, and that person had plenty far to go, in that direction.Wait, do you know who Byzantion was? I only ask because, before he "disappeared" from MusicWeb, he once got drunk and sent me a 1 a.m. message which read in its entirety, "Brian you're a knob." (sic)