peterquantrill.bsky.social
Writing and talking about music. Cricket tragic.
67 posts
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107 following
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I want this mug!
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Link not working, Graham - maybe someone changed the title...
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Yes, gripping, but... something was missing, some essential vitality and variety. The anger of the B9 in the VPO Prom I might attribute to the poor playing. Better than the almost unprofessional Haydn 104 in the 1st half. Still an ocean away from the collective inspiration of that final B7.
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That said, late Haitink in 4 played against type (for him by that time). I am not persuaded by his late Bruckner and Mahler 9s: masterful in their way but dogged and drained of blood. A Dutch Protestant, hawk-eyed gaze into the abyss! His late 4s retained a fresh, vernal mood, adding something else.
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As you say, 4 is not a monumental piece. The more I get to know the canon, the more distinct they are, the more personable their individual characters (after 35 years of acquaintance). But these distinctions do rely a lot on performance, on really basic factors like pulse.
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You would find Hengelbrock brings it out marvellously here, in the first and so far only period-instrument Parsifal (I caught it twice in Madrid...)
www.youtube.com/watch?v=SwSP...
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Ah, Stephen, it can't be Op.131, Bruckner 5 and Art of Fugue every day.
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If Tim did that, he would also miss the influence of the Flowermaidens' ballet chanté on Massenet. But that would be the least of it (if I had a favourite opera, it might as well be Parsifal).
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If you come across Winiary, try it out. Thicker and creamier than UK Hellmann's, but I've never had the US version.
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Given that he has often done Bach and Rameau, and more first performances than most of his colleagues, that doesn't seem right. If anything I think of him as continuing the German-radio-conductor lineage - Rosbaud-Bour-Gielen - which rejected 'specialism'.
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Satie had this. Well, he had one piano perched on top of the other, at his room in Arceuil. But he used the top piano to store all his unread post.
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I am spared all that nonsense on the wireless. Plus I get Jim Maxwell.
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Thanks, Ruth! Happy new year to you.
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Vivaldi 4S (Schneiderhan) but I bought it for Side A: Albinoni Adagio (also Lucerne FS/Baumgartner), Pachelbel, Corelli, Vivaldi (the) recorder cto. My school cbr orch had played the Albinoni to open a carol concert in which I was singing, at Barts. A small life-changing moment.
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Every now and again they do that (put in a lovely thick wedge of polyphony) and get my hopes up that they're setting a new tradition!
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It was apparently at *Beethoven's* exhumation that a lens from Bruckner's spectacles fell into the open coffin. I'm sure he would have turned up for both sequels. 'Paid his respects' doesn't quite cover it.
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I can see a Brahmsalike but curiously no sign of Bruckner, who apparently had a sort of fetish for such occasions.
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Yes, the rhythm and harmony are four-square. But take away 'O come all ye faithful' and there would be no 'Word of the Father'... The carol I'd gladly bin is 'Hark the Herald'. Such a slog.
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The murder of John Lennon.
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I've still never heard it live! Must go...
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Pérotin: Sederunt principes
Tomkins: Arise, O Lord, into thy resting place
Mozart: Piano Sonata K284
Lutoslawski: Symphony 2
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Hi
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Bernstein's tempo for the coda of the finale is based on a misprint in the Boosey edition, of crotchet = 188 instead of quaver = 188. It is twice as fast as Shostakovich intended.
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Coincidence? I think not.
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byron reminds me of grabber (or shd that be the other way around?). grabber wd swim the helespont, no question, and doesn't he have a pretty sister? And byron is a shoo-in for the mrs joyful prize.
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I'm afraid it took me until adulthood to discover the original author of this line. Anyway byron was clearly a wet and a weed, and I prefer molesworth's version.
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The Assyrian came down like the wolf on a fold, mogley-howard one
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But then, you know, I have to put up with a caption in the Guardian, about Paul Mescal's clothes, informing me that 'It is unclear whether the items have been washed'. So the Lord giveth and the Lord taketh away.
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It's the same with Simpson. They were inevitably passing judgement on versions they hadn't heard, having nothing but the scores to go on. And in the case of (eg) 3, they didn't even have all of those.
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Well I don't know what your reasons are for disliking the Talksport commentary. Guerilla is too in-jokey for me. The Talksport guys are actually there, on the ground. Neil Manthorp gets carried away, but otherwise I like them. And they have Jeremy Coney on hand so they can't be all bad!
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Is this the telly? If you do Talksport you don't get ads in-play.
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Festive example: 'Flößt, mein Heiland, flößt dein Namen' from the Christmas Oratorio.