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Post to this Topic
Antigone

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Location: A house, in a Virginian Valley
Gender: Female


Posted: Jan 13, 2019 - 8:08am


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Posted: Jan 11, 2019 - 7:24pm


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Posted: Jan 9, 2019 - 4:34pm

Philip Glass and John Adams on a Bowie-Inspired New Symphony
Why composer Philip Glass viewed David Bowie’s ‘Lodger’ with skepticism
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Posted: Nov 10, 2018 - 2:23pm

Even Classical Music Is Getting Faster These Days
SeriousLee

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Location: Dans l'milieu d'deux milles livres


Posted: Nov 4, 2018 - 12:20pm

 Antigone wrote:
Perhaps my very most favorite "morning" music. A lovely, and spare, version. Pay close attention to the audience, and you'll get a treat!
 
 


 
Those high notes are sublime.
maryte

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Location: Blinding You With Library Science!
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Posted: Nov 4, 2018 - 11:38am

We'll be seeing this show on Thursday.  Jordi Savall is a freakin' rock star!

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Posted: Nov 4, 2018 - 11:09am


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Posted: Oct 29, 2018 - 2:42pm


Antigone

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Location: A house, in a Virginian Valley
Gender: Female


Posted: Oct 27, 2018 - 9:22am

Perhaps my very most favorite "morning" music. A lovely, and spare, version. Pay close attention to the audience, and you'll get a treat!
 
 

rhahl

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Posted: Oct 20, 2018 - 2:41pm

Bach - A Passionate Life - John Eliot Gardener (2013)


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Posted: Aug 9, 2018 - 11:26pm

Tempo, period instruments, and (political) themes...
BBC Documentary - The Secret of Beethoven's Fifth Symphony

NoEnzLefttoSplit

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Gender: Male


Posted: Jul 14, 2018 - 11:34pm


kcar

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Posted: Jun 15, 2018 - 12:39am

 R_P wrote:
Explainer: Why Conductors Change Classical Music Scores
How fast? How slow? How loud? Every conductor seems to approach the same music differently. But how? The notes are all the same, right?

 
Great article—thanks! 
R_P

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Posted: Jun 14, 2018 - 8:50pm

Explainer: Why Conductors Change Classical Music Scores
How fast? How slow? How loud? Every conductor seems to approach the same music differently. But how? The notes are all the same, right?
R_P

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Posted: May 28, 2018 - 2:12pm


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Posted: May 20, 2018 - 9:01pm

 ScottN wrote:

In the segment Zander spoke about how, in his opinion, The Ninth has been misinterpreted by many. Too slow

 
I think there is always some interpretation involved, and that's usually what the conductor does (it's his job description so to speak). Many pieces come in slightly slower or faster recorded versions. Also some conductors, like other artists, come with large egos ("knowing" supposedly how it was really intended).
Although Beethoven included clear tempo marks in the symphony, Mr Zander claims they were never intended to be taken literally.
That sounds like someone interpreting scripture.

On the other hand:

Commenting on the blog, the Dutch composer John Borstlap said this disability may have led him to score the piece too slowly.

“We know that Beethoven was deaf and composers often imagine their music faster in the lightweight space of their mind than they would assess in reality, where the sound is influenced by many physical factors,” he said.

However classical music commentator Norman Lebrecht told The Telegraph that it was a shame to speed up the work.

“One of the best things about Beethoven’s Ninth is that no performance ever feels too long. So making it go faster seems to me a cause for regret,” he said

Regardless, I'm sure I'd enjoy it.
ScottN

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Location: Half inch above the K/T boundary
Gender: Male


Posted: May 20, 2018 - 8:09pm

 rhahl wrote:

Beethoven - Symphony No. 9 (Proms 2012)...



 

CBC's “As It Happens”, very recently featured an interview with conductor Benjamin Zander who was on to comment on a new rendition of Beethoven’s Ninth which he recorded with the Boston Philharmonic along with The Philharmonia Chorus and Chorale (London).  It is being released in July.

In the segment Zander spoke about how, in his opinion, The Ninth has been misinterpreted by many. Too slow.  Zander used the word “ferocious” to describe how Beethoven intended the piece to be, and played at a much quicker tempo than previously done (by himself as well).  The new rendition was noticeably quicker—Three clips were played, including “Ode to Joy”.  I am a modestly informed and experienced classical music listener but I could easily appreciate the difference.  Zander said his rendition is 58 minutes vs. typical  ~70+ minutes in many other performances.  “Ode to Joy” was very, very impressive.

Fun (new to me) fact: The metronome was invented and used during the later period of Beethoven’s career.  He used it to be very specific about how he wished the tempi of his work to be played (Ninth, of course).  For a mix of reasons, according to Zander, these directives have seldom been followed for The Ninth.

More here: http://slippedisc.com/2018/04/will-this-be-the-fastest-beethoven-ninth/.  I am eager to hear the full recording.

Edit: The new release features a 160 minute discussion wherein Zander explains and defends this new work.  During the radio spot he said he had been thinking for decades of a reinterpretation of The Ninth, and now near 80 y.o., he felt very rewarded by having this new rendition performed and recorded.
 
I hope other RP'ers more familiar with Zander and this project than I am will also comment.


R_P

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Posted: May 19, 2018 - 7:46pm


rhahl

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Posted: May 11, 2018 - 7:14pm

Edgard Varèse, Ionisation - Ensemble intercontemporain


rhahl

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Posted: May 1, 2018 - 12:04pm

Willem Jeths - Le Tombeau Mahler or The Tomb of Mahler


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