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On Thu, 2 Jan 2025 22:06:32 +0000, Owen Hartnett wrote:
Hope you like them as much
as me. Otherwise, you'll
be on the little list.
?!?
Big Brother keeping lists ?!?
Cheers!
I grew up listening to the Studio der Frühen Musik and Munrow and
Turner and they still act as acoustic proustian madeleines, I
guess.
Also, do people talk about Anthony Braxton in here?
Something very off the beaten path: I didn't realize that author
Ishmael Reed was composing music to go along with his plays, but
he is. I wouldn't call him a great pianist either, but here's his
album playing some of these works:
https://readinggroupcompany.bandcamp.com/album/the-hands-of-grace
On Wed, 15 Jan 2025 1:59:22 +0000, cheregi wrote:
On Wed, 15 Jan 2025 1:08:08 +0000, cheregi wrote:
Today I can't get enough of specifically Preethi de Silva playing CPE Bach's Sonaten fur Kenner und Liebhaber. She's incredibly funny and
sharp and thoughtful and unafraid.
I think it's an insult to CPE to list him as a Romantic ahead of his time. He is so much more interesting than that. He is the polar opposite of cloying, insipid and sentimental.
https://www.congioia.org/cd-recordings.html and on qobuz/deezer
To expand on this, I find in CPE, as played especially by de Silva and a select few others (but emphatically NOT by Spanyi or Belder), some of
the same caliber of aesthetic sophistication I find so satisfying in
good performances of early French Baroque keyboard music, or Sorabji for example. This is something that I don't find in most of the composers
CPE is often compared to, like Mozart, Haydn, or Beethoven. And it's certainly something I find even less of in the type of Romantic music seemingly concerned primarily with expressing a series of emotional
states for the listener to bask in, which I find almost unbearable. CPE
is obviously working with affective signifiers in his music but they are treated with a sense of distance and irony rather like the handling of emotions in a jazz ballad.
I think much of what's difficult for me to express about my appreciation for his style has to do with his position at a very particular moment in the transition to capitalist economic systems. I think from the Austrian perspective it was important that CPE lived and worked in a relatively
more marginal and backwards area. So maybe CPE's influence on his
younger peers was something like what had already happened in France and Italy some centuries prior: the machine of capitalism hungrily
processing whatever feudal culture was left. I mean, whatever had been truly connoisseur-oriented about south German musical life had already
been destroyed by the incentives towards populism, so Haydn and Mozart looked north. CPE/empfindamer Stil was eaten and what came out the other end was Schumann or whatever.
But then at the same time CPE is obviously avant-garde in a way that
hadn't even really existed a couple generations prior, I mean the idea
of "avant-garde" had only recently started to make any sense even as a retrospective assessment. I mean he now sounds like he's pushing and pulling the nascent bourgeois language of tonal music restlessly in all kinds of crazy directions. And he's absorbed all the latest developments from Italy and France. So it's hard to square it all.
My friend Clara likes to say "talking about music is
like dancing about architecture". Methinks you dance
too much. This ng focuses on RECORDINGS rather than
on COMPAWSERS. Obviously the two topics mix a little
and cannot be completely separated from each other.
As to CPE's "influence" on other compawsers, give us
a break! One hears Chopin's influence in the music of
all the composers who followed him. One doesn't even
hear CPE's "influence" in Schubert or in Schumann!
Are you a musicologist perchance? Just curious .....
Cheers!
Mostly off topic, but I found amusing. There's a brewery in or
near New Bedford, MA (one of the settings of Moby Dick) which
produces Ishm Ale.
Downloaded Martinu's main orchestral works, conducted by Belohlavek,
from the Presto site.
BandCamp, a source I am presently tapping. A lot of dross there,
but some real diamonds to be found also with some searching effort.
Some of the Latin and world type jazz (especially Scandinavian)
is worth it to my ears. I like cooler type jazz, such as that by
Lee Konitz, Chet Baker, Art Pepper.
I decided to devote January to a Machaut retrospective.
In article <P6igP.401929$EYNf.287295@fx11.iad>,
Raymond Hall <raymond.hallbear1@gmail.com> wrote:
Downloaded Martinu's main orchestral works, conducted by Belohlavek,
from the Presto site.
Which is your favorite? I might enjoy some Martinu about now....
Re-listening to a few masses by Agricola, a contemporary of Josquin
(and La Rue, and Obrecht, and Isaac...), as recorded by the A:N:S
Chorus between 2000 and 2003. Impressive performances, especially
Le Serviteur and In Mynen Zin. Looking forward to the new cd by
Beauty Farm which duplicates part of this repertoire.
Looking forward to the new cd by Beauty Farm which duplicates part
of this repertoire.
String quartets of Julius Hemphill (1938-1955):
Much appreciated member of the great World Saxophone Quartet.
New _Gibbons: Keyboard Works_ by Stephen Farr (on both harpsichord
& organ -- although not at once!) from Resonance Classics....
I've only listened to this once, and mixing the keyboards isn't
really my preference, but I feel like we've yet to have a truly
outstanding Gibbons keyboard release, and this had its appeals....
(And like too many recent releases, I haven't located the liner
notes yet....)
A new recording of Boulez's _Livre pour Quatuor_ by Quatuor
Diotima on Pentatone, including a completed (by Philippe Manoury)
version of Part IV (of VI).
New _Gibbons: Keyboard Works_ by Stephen Farr (on both harpsichord
& organ -- although not at once!) from Resonance Classics....
I've only listened to this once, and mixing the keyboards isn't
really my preference, but I feel like we've yet to have a truly
outstanding Gibbons keyboard release, and this had its appeals....
Bach Goldenberg Variations Vladimir Feltsman
https://www.youtube.com/watch?v=wedZkkXqOJ0
On Fri, 25 Apr 2025 2:16:41 +0000, Graham wrote:
On 2025-04-24 6:54 p.m., DeepBlue wrote:
Bach Goldenberg Variations Vladimir Feltsman
https://www.youtube.com/watch?v=wedZkkXqOJ0
And Rana:
https://www.youtube.com/watch?v=HJnZK-Gk2K0
Snoozefest. She has no audible balls! ;-)
Cheers!
Following from this (kind of), I'm belatedly listening more seriously
to Lydia Maria Blank - ....
But in any case I'm taking this as an opportunity to re-listen to parts
of the Moroney Byrd set and catch up on Mandryka's (is he still here?)
recent recommendations on the good-music-guides threads about lutes and harpsichords and viols.
It sounds more like Frescobaldi is experimenting with how to balance
....
Listening to this set this afternoon, I agree it has a particular
quality of "making it up as it goes..." that does suggest the notion
of Frescobaldi sitting at a keyboard trying out what sorts of sound
combos really work on the crazy thing, rather than thinking how to
adapt previous music & its logic....
That almost makes Frescobaldi seem like Cage (et al - or maybe
just Debussy) - something something "populist avant-garde" or "the >avant-garde potential of populism". I don't know.
Populist or uneducated elites?
Well, I guess one of the populist-avant-garders "et al" is Ligeti who in
fact wrote a Ricercare as an explicit homage to Frescobaldi in 1951,
New _Gibbons: Keyboard Works_ by Stephen Farr (on both harpsichord
& organ -- although not at once!) from Resonance Classics....
I've only listened to this once, and mixing the keyboards isn't
really my preference, but I feel like we've yet to have a truly
outstanding Gibbons keyboard release, and this had its appeals....
(And like too many recent releases, I haven't located the liner
notes yet....)
On Sat, 24 May 2025 0:18:46 +0000, Al Eisner wrote:
Magdalene Ho (of Malaysia)
Note however that she was born in the US,
is (at least half) Chinese, and studied
mainly in the UK with Patsy Fou. I guess
the only thing Malay about her is one of
her passports. ;-)
Cheers!
On Sat, 24 May 2025 20:53:14 +0000, Al Eisner wrote:
On Sat, 24 May 2025, DeepBlue wrote:
On Sat, 24 May 2025 0:18:46 +0000, Al Eisner wrote:Looks like she did not make it through to
Magdalene Ho (of Malaysia)
Note however that she was born in the US,
is (at least half) Chinese, and studied
mainly in the UK with Patsy Fou. I guess
the only thing Malay about her is one of
her passports. ;-)
Cheers!
the round of 18. Of the few I watched,
one I thought quite poor did make it.
I am not entirely surprised. The Clickburn
is an unfriendly environment and ecosystem
to pianists who display too much nuance or
subtlety. It has been going downhill since
Radu Lupu won in 1966.
To make matters worse, the Clickburn does
not even provide decent instruments. The
Stoneway they use has a shallow hollow
tinny metallic tone.
I am very disappointed.
Cheers!
On 2025-05-24 10:10 p.m., DeepBlue wrote:
On Sat, 24 May 2025 20:53:14 +0000, Al Eisner wrote:In his case the jury chairman wanted to award the prize to
On Sat, 24 May 2025, DeepBlue wrote:
On Sat, 24 May 2025 0:18:46 +0000, Al Eisner wrote:Looks like she did not make it through to
Magdalene Ho (of Malaysia)
Note however that she was born in the US,
is (at least half) Chinese, and studied
mainly in the UK with Patsy Fou. I guess
the only thing Malay about her is one of
her passports. ;-)
Cheers!
the round of 18. Of the few I watched,
one I thought quite poor did make it.
I am not entirely surprised. The Clickburn
is an unfriendly environment and ecosystem
to pianists who display too much nuance or
subtlety. It has been going downhill since
Radu Lupu won in 1966.
a local. However, the 2 European judges threatened to resign
and more or less forced the jury to award it to Lupu.
On Sat, 24 May 2025 20:53:14 +0000, Al Eisner wrote:
On Sat, 24 May 2025, DeepBlue wrote:
On Sat, 24 May 2025 0:18:46 +0000, Al Eisner wrote:Looks like she did not make it through to
Magdalene Ho (of Malaysia)
Note however that she was born in the US,
is (at least half) Chinese, and studied
mainly in the UK with Patsy Fou. I guess
the only thing Malay about her is one of
her passports. ;-)
Cheers!
the round of 18. Of the few I watched,
one I thought quite poor did make it.
I am not entirely surprised. The Clickburn
is an unfriendly environment and ecosystem
to pianists who display too much nuance or
subtlety. It has been going downhill since
Radu Lupu won in 1966.
On Sun, 25 May 2025 5:48:57 +0000, Al Eisner wrote:
On Sun, 25 May 2025, DeepBlue wrote:
On Sat, 24 May 2025 20:53:14 +0000, Al Eisner wrote:From Ben Laude, whom I've found to be an
On Sat, 24 May 2025, DeepBlue wrote:
On Sat, 24 May 2025 0:18:46 +0000, Al Eisner wrote:Looks like she did not make it through to
Magdalene Ho (of Malaysia)
Note however that she was born in the US,
is (at least half) Chinese, and studied
mainly in the UK with Patsy Fou. I guess
the only thing Malay about her is one of
her passports. ;-)
Cheers!
the round of 18. Of the few I watched,
one I thought quite poor did make it.
I am not entirely surprised. The Clickburn
is an unfriendly environment and ecosystem
to pianists who display too much nuance or
subtlety. It has been going downhill since
Radu Lupu won in 1966.
To make matters worse, the Clickburn does
not even provide decent instruments. The
Stoneway they use has a shallow hollow
tinny metallic tone.
I am very disappointed.
Cheers!
astute listener:
https://www.youtube.com/watch?v=jRQU--cC_vQ
Yes, indeed. Ben has good ears. He is also
rather naive about how competitions really
work. The main reason Magdalene Ho was not
promoted to the next stage is that she does
not study (or appears to have studied) in
any of the "top" US conservatories, or with
anyone who is in the jury or even taken a
master class with any of them. Color me
cynical, I don't care.
Who are your favorites so far?
Cheers!
Of the six quarterfinals I watched, the
mosg satisfying were those by Piotr
Alexewicz and (your earlier choice)
Chaeyoung Park. I would give an automatic
pass to the next round to the pianist whose
program consisted of the Hammerklavier.
I would not! I would throw them out! ;-)
I would also throw out all the competitors
who programmed Stravinsky. ;-)
On Mon, 26 May 2025 21:25:59 +0000, Al Eisner wrote:
I would also throw out all the competitors
who programmed Stravinsky. ;-)
Incluiding Park?
I would grant her a stay of execution! ;-)
Cheers!
On Mon, 26 May 2025, DeepBlue wrote:
On Mon, 26 May 2025 21:25:59 +0000, Al Eisner wrote:
I would also throw out all the competitors
who programmed Stravinsky. ;-)
Incluiding Park?
I would grant her a stay of execution! ;-)
Cheers!
Then you will just love the fact that she has scheduled the "Hammerklavier" in her finals recital. :)
On Mon, 26 May 2025 8:12:21 +0000, DeepBlue wrote:
On Mon, 26 May 2025 2:13:21 +0000, Al Eisner wrote:
Cecino made it into the semi-finals. I did
not like him.