grenadilladaddy.bsky.social
Interested in music, history, some tax policy issues.
240 posts
54 followers
41 following
Regular Contributor
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Sammons is definitely my favourite fiddle concertoist
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Apostles - Boult et Al
2nd Symphony - Thomson
Cello Concerto - Tortelier and Boult
Introduction & Allegro - Boult
Dream of Gerontius - Sargent/Nash
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Next big target is the Sidewinder
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Oh. Strange!
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York Bowen wrote an attractive oddity - a bass clarinet quintet youtu.be/dBWXAHkfnC4?...
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Yes, Boult was a major interpreter. He championed overseas composers as well, notably Busoni. He performed Mahler when it was unfashionable. His approach to Schumann was an alternative to the sluggish accounts often heard. His Schubert 9th was one of the greats. Top Beethoven, and Brahms.
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I’ve never seen the sense of ISAs. Either tax unearned income, or don’t. But I imagine changing it, after all this time, has unforeseen consequences; economical as well as the obvious political risks.
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Crotchet = 120. Infallible guide to that tempo marking. (Whereas Old Comrades goes at around 110)
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Gerontius is very uneven, and the best parts are difficult to perform well, but the good bits, if well performed, are mesmerising. On the other hand, Britten’s War Requiem seems very very underwhelming to me.
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Boult: rough, craggy, but effective: www.musicweb-international.com/classrev/200...
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This is so obvious that I can only assume that Starmer’s comment is performative rubbish to impress unthinking fools. A proportion of those fools may be in the US, however.
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It can be denied by Labour, and the only debate would then be whether to believe the denial.
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Definitely preferable to No.2 in my opinion. No.1 is close behind it, and they are a nice contrast (1&3), reflecting the 40 years that separated them.
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Yes, I’ve listened to it, and I see the logic in exploding a prevalent myth. I doubt the efficacy of stating it as the starting position, however, since it lends credibility to a framing that seems completely unjustified (IMO).
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That’s early for sure. As to the official life expectancy, it incorporates all ages of death from whatever cause. The figure for those who live into old age is surely much higher. But I realise that 80s is a decent innings for anyone.
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I tend to think of sub-85 as being an early death where the person has had a favoured lifestyle, e.g. well educated professional/academic. But David Luscombe died suddenly at exactly the same age….
I can’t recall thinking Bob Moore was all that old.
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Oh dear. Very sad. Not that old either.
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A pity they come out with that ‘poacher turned gamekeeper’ misdescription, but the podcast proper should be worth a listen.
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Haha. ‘Put his foot down’ has two different meanings. But I know the one you mean.
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Hmmm. When I played it in a non-professional orchestra about 20 years ago, it was 94-98, and doesn’t sound sluggish. Tippett’s recording is 85-90 and sounds lethargic. Solti, 92-95. So the marking of 116 is simply wrong. The pressure on Boult arising from that mistake was huge.
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Another observation is that Boult’s tempo seems frighteningly quick for a premiere with an anxious orchestra. It’s a white knuckle ride.
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The remarkable thing, listening to it, is that it had not yet broken down when Boult stopped it and immediately addressed the audience. His decisiveness is quite something. He obviously decided that it should be corrected rather than fumbled. But what if the error had occurred later in the movement?
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Should have waited. Only a taster just now.
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Am listening to it (seemingly 3 days before its release date…?) sounds lovely so far!
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Yes, I am inclined to believe it was a slip and not a deliberate breach of custom, but there’s a hint of wanting to say it.
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“Right Hon Friend” at one point, reverting to “RH Gentleman” later. Deliberate? To emphasise their joint endeavours? Or a slip?
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The flier doesn’t say what the pieces are… Beethoven Violin Concerto, and Mozart Symphony 39 (his best!!)
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Harrumph. Leaving the EU and joining it are not comparable. Trying to move closer, short of joining, might be a viable choice, including achieving EEA status. The use of ‘re-‘ when referring to joining creates expectations which can’t be met. Bridges were burned, and there’s no past to go back to.
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Musically sensitive and with effortless technique. Over the long haul I find the sound a little wearing though. To my ears, Stern or Szeryng leave me in a more comfortable place.
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Woodwind and brass
@castles73.bsky.social cor anglais
@chrishorril.bsky.social clarinet
@grenadilladaddy.bsky.social bass clarinet
@jwingfieldhill.bsky.social bassoon
@flightfreeuk.bsky.social trumpet
@boneagain.bsky.social trombone
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I avoid
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I wouldn’t have expected that list. Though little bits of the Brahms Quintet emerge in Coates’ SaxoRhapsody. That happens to be my favourite Coates piece.
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I played this last summer in Croydon and it was quite wonderful done live in a good hall. The Angel’s Farewell was very moving. Hope you enjoy your performance. Saffron Hall has a great acoustic.
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Under-occupation of existing housing is the main problem. Building large swathes of poorly integrated and inadequately communicated housing exacerbates the problem. The risk of creating slumland areas is significant. Brownfield development is usually the best option.