Classical Music.

[Tero]

Yeah I heard Bream on his last US tour, he was about 80. Slightly rusty by then.

[Tero]

Vivaldi wrote hundreds of concertos but only two for trumpet. Most of his concertos were passed on to clients all over Europe or his monthly quota to an orphanage for girls. Girls did not play trumpet, only bassoon and oboe and an early clarinet. Also, trumpets were more of a guild job in town. The client is unknown.

[Brian Peacock]

Ever come across the violoncello da spalls (cello of the arm) before?



I enjoyed the instrument's robust, earthy tone.

[Hermit]

Ever come across the violoncello da spalls (cello of the arm) before?



I enjoyed the instrument's robust, earthy tone.

The robust tone might have something to do with it being recorded in a repurposed gasometer, 53.8 metres in diameter and 14.5 in height.



The acoustics of that giant steel drum beefs the sound up even more so than a tiled bathroom that can make one's feeble voice sound like Dietrich Fischer-Dieskau's or Diana Damrau's.

As for this particular performance, I found it somewhat stodgy. Perhaps Sergey Malov was determined to play the suite exactly as written down in the score. This is not what Bach, and any other composers of the baroque period meant performers to do.

[Brian Peacock]

...
As for this particular performance, I found it somewhat stodgy. Perhaps Sergey Malov was determined to play the suite exactly as written down in the score. This is not what Bach, and any other composers of the baroque period meant performers to do.

It's interesting what one takes from these things isn't it(?) I found this rendition nuanced and dynamic with it's freer interpretation of phrasing and colour. I went to a Yo-Yo Ma version straight after and, by comparison, found that a bit staid and formal; even rather stolid in places. Ma is technically brilliant of course, but a bit dry despite the performative emotionalism he goes for. For these suites I invariably lean towards the less overtly romantic sound of the Baroque cello and a more direct approach to the notes on the page.


(performance starts @ c.4m)

[Brian Peacock]

[Hermit]

Murdering music.

The South Korean boy just wanted to have some fun two.



Then a massacre ensued as others joined in. Among them were Laura Lāce of Riga, Latvia



and French born Tina Setkic.




I quite enjoy listening to all of them. Them, the Swingle Singers, Jacques Loussier, Wendy Carlos, Leopold Stokowski and any others who added twists to original scores.

[Tero]

Here is the violin version in modern style

[Tero]

My favorite 4 Season recordings are this set with Podger


and just slightly better, on modern violin, Jensen. You have to jump to the end for the 3rd movement


That youtube has a weird hollow sound. It's not on the CD.

[Brian Peacock]

Dutch recorder players are the best recorder players...



Here she is on more familiar ground...

[Tero]

Another one of these. The video shows the striking contrast of when she is solo, with just cello backing, and when multiple strings play

[Brian Peacock]

What a racket!

[Tero]

Larsson 1908 –1986

[Tero]

I was looking at some symphonists to compare to Sibelius, whose major works I've pretty much memorized as far as structure and what comes next. I really don't care for the majority of symphonic pieces by Haydn (how many times do you write pom po dom?) and Mozart except for one and then his early short pieces titled symphonies.

Found a thing I saved on my hard drive years ago, Mendelssohn 99. It was a download for a couple of bucks. I prefer this to Brahms and Tchaikovsky. All but Symphony 1 are good. Even the violin concerto is pretty good, and I don't like most violin concertos past the baroque.

[Brian Peacock]

What about Bruckner? Symphonies are big and blousey in the Sibelius vein.

https://en.wikipedia.org/wiki/Anton_Bruckner

No 5 is a good place to start.