Past Purchases (CLOSED)

[Harry]

I'm wondering if there are non-soprano parts of Wagner's "Ring..." that you enjoy, Harry? Quite a bit of that work is Bass/Baritone/Tenor.

Well Wagner you know is not my cup of tea, but all male parts are oke with me!
Beware of Flagstadt though!

[Haffner]

Yes, Mozart and Beethoven s o o o o o had the wrong idea with Magic Flute and Fidelio, eh?  

[71 dB]

It isn't a matter of "different interpretation";  nor a matter of "relying on your own ears";  we've been down this road before, where your thinking is sloppy, but you flatter yourself that your sloppy thinking is "freethinking."

Sorry if my sloppy thinking isn't enough for you. I have the brains I have and I have no choice but to keep thinking this way.

This is neither "history" nor "interpretation";  it is empty fantasy, and false dichotomy, as far as the eye can see.  Mozart was no less musically ambitious in his late operas, than he was in the Requiem;  nor could you make any intelligent claim that Mozart was less concerned about fame when writing his Requiem (which he wrote, knowing that it would be performed only after his death — but since you are not ignorant of history, you knew that already, although you write as though you know nothing of it) than when writing his operas.

Another false dichotomy you are luxuriating in (with ironic overtones, given that Mozart is part of the topic) is the implication that writing singable tunes is necessarily "cheap," but that symphonies are by nature "above all that" (what, and you can't sing all the tunes in Mozart's late symphonies?)

Well, I didn't meet Mozart in person so how can I know what he was doing and why. All I can say is that when I listen to Magic Flute I find it compromised. When I listen to Requiem I hear more ambitious music (Mass in C minor is even more ambitious). So, I think and find logical explanations for this phenomena. That's it.

[Haffner]

This or that opera not being your cup of tea, is one thing.

But the idea that Mozart wrote Magic Flute the way he did "because he needed money" — in any way which distinguishes it from, say, the Requiem, which he wrote specifically because it came with handsome compensation — is poppycock.

I respect 71db's opinion very much, but I'm kind of at a loss here. The Magic Flute is a towering achievement; without it I have some reservations deciding whether such works as Beethoven's 9th Symphony or Wagner's "Ring..." would have come out the way they did.


The Magic Flute is arguably Mozart's best opera (this coming from a man whom treasures Don Giovanni to no end, I assure you!).

[Haffner]

Thank heavens, at long last, you have explained this to me! 

Poppycock, again.  It isn't pretty when you flaunt historical ignorance like this.

Whether those operas were composed "for money" ( ) or not, I find it hard to condemn an artist for wanting to carve out a living for him or herself. Certainly, there are plenty of Mozart and Beethoven works which could be construed as geared toward the "connosieur".

[George]

For the love of Beethoven, someone  please buy something and get this train back on the tracks? 

[Haffner]

Anyway I prefer having my own opinions instead of brainwashing.

Of course I agree with you here, 71db. And of course you're perfectly entitled to your own opinion. I've simply gotten so much Affirmation and Light from works like The Magic Flute that it's hard for me not to be passionate about it. I meant no offense, dear friend.

[Haffner]

Another false dichotomy you are luxuriating in (with ironic overtones, given that Mozart is part of the topic) is the implication that writing singable tunes is necessarily "cheap," but that symphonies are by nature "above all that" (what, and you can't sing all the tunes in Mozart's late symphonies?)

[ EDITS :: sundrie typos ]

This is an excellent, well thought out point.

[Harry]

This one

[not edward]

Harry to the rescue! (I wonder how the Naxos performances compare to the cpo rival.)

[Florestan]

Bought last week:

Chopin / Arrau: Preludes op. 28
Chopin / Pollini: Etudes op. 10 & op. 25

[George]

Bought last week:

Chopin / Arrau: Preludes op. 28
Chopin / Pollini: Etudes op. 10 & op. 25

Which Preludes? Philips or live APR?

I've seen the Preludes lately, re-released as a Philips Originals CD

[Florestan]

Which Preludes? Philips or live APR?

Philips

[71 dB]

I respect 71db's opinion very much, but I'm kind of at a loss here. The Magic Flute is a towering achievement; without it I have some reservations deciding whether such works as Beethoven's 9th Symphony or Wagner's "Ring..." would have come out the way they did.


The Magic Flute is arguably Mozart's best opera (this coming from a man whom treasures Don Giovanni to no end, I assure you!).

Thanks for the respect Andy. I have always found you a really nice guy and I respect you too!

Perhaps I just don't understand certain type of opera? I love baroque operas. I enjoy operas by Wagner, Puccini and Mussorgsky but I dislike many of Mozart's operas and Beethoven's Fidelio. I also dislike Verdi. That's just the way it is.

[Harry]

Harry to the rescue! (I wonder how the Naxos performances compare to the cpo rival.)

Quite well I may say, the Naxos can hold its ground, that's for sure!

[karlhenning]

Thanks for the respect Andy. I have always found you a really nice guy and I respect you too!

Perhaps I just don't understand certain type of opera?

First of all, 71 dB, I rely on your understanding that our disagreement is all about the art, and history;  and that my sustained and principled disagreement with you here, is not any matter of "disrespect."  Insofar as your manner of thought touched the conversation, that was of your own introducing;  and it had every appearance of a cop-out ("that's the way I think, man, so none of these facts that you raise will have any effect on the way I think").

Second, thank you for the simple and inarguable admission above.  And whether or not you understand this or that type of opera, you are entitled to like what you like, and not care for what you don't care for.

[karlhenning]

Quite well I may say, the Naxos can hold its ground, that's for sure!

Well, they're all good, right? 

[Harry]

Well, they're all good, right? 

Sure Karl!

[71 dB]

First of all, 71 dB, I rely on your understanding that our disagreement is all about the art, and history;  and that my sustained and principled disagreement with you here, is not any matter of "disrespect."  Insofar as your manner of thought touched the conversation, that was of your own introducing;  and it had every appearance of a cop-out ("that's the way I think, man, so none of these facts that you raise will have any effect on the way I think").

Second, thank you for the simple and inarguable admission above.  And whether or not you understand this or that type of opera, you are entitled to like what you like, and not care for what you don't care for.

Don't worry karlhenning. I am used to have different opinions from other people. My mental prosesses are of a rare kind. However, I am always ready to change my mind if necessory. If you make me undestand something new I propably change my mind and thank you for the enlightment. Similarly I try to enlighten others. Forums are about exchange of knowledge and insight. At least this forum should be.

[karlhenning]

Forums are about exchange of knowledge and insight.

Yes;  and again, that Blom quote in your signature is still a Real Turkey