What are you listening to now?

[Quijote]

I hadn't finished, hah!
This 1892 score bears therefore many such dynamic markings that make explicit what was implicit in performance practice. But that is hardly interesting. What is more relevant to HIP practice fans is that Bruckner went on to refine (in this 1892 revision) the tempi markings, and how the accelerandi, the a tempos, the cresc., the descr., and a whole host of other instructions were to be played. The 1892 version (however dubious its authorship may be) actually gives us an insight to performance practice at the time, and for this alone is a valuable source document.

[Michael]

Just listened to Van Beethoven's 7th. I think he's "ripe for the madhouse".
Well, that's what Weber said. Also, a review published in a newspaper of the day said:

"Mr. Van Beethoven goes his own path, and a dreary, eccentric, and tiresome path it is: learning, learning, and nothing but learning, but not a bit of nature or melody. And, after all, it is but a crude and undigested learning, without method or arrangement, a seeking after curious modulations, a hatred of ordinary progressions, a heaping up of difficulties, until all the pleasure and patience are lost."

How right he was.

[Quijote]

And this ties into interpretative trends that have nothing to do with respecting composers' intentions, despite HIP claims to the contrary. The essay I have recently read about this makes a brief comparative study of recordings since the 1940s.
To cut a long story short (or to reduce 92 pages of scholarly study into a few brief postings to suit shortened attention spans / reduced educational standards : add smiling icon), it would appear there has been an "evolution" in performance practice that pays little or no heed to instructions in the score.

[Quijote]

Michael, I'm out of the bed again (as you always say to Nurse), so please let me finish ! ...

[Quijote]

Damn, I just made a false move on the keyboard and have lost my posting ... Eh merde !

[Quijote]

Most annoying, when you make a false move on the keyboard and lose the entire bloody text. In retrieval, I was saying : according to a recent essay I've been reading, a comparative study of early recordings shows "old school" conductors such as Walter, Furtwängler and Jochum etc., following the marked accelerandi to the letter and in a way that reflected a practice handed down to them from their masters at the end of the 19th century. Which is to say "a dramatic [read rushed?] approach" which finds echoes perhaps in the musical clichés found in the music accompanying Laurel & Hardy / Tom & Jerry films or cartoons.
On the other hand, more recent conductors (from the 1970s, let us say for convenience) seem to approach the accelerandi in a more "measured" way, and hence avoid what we may feel (as modern listeners) as "panic".
I have only glossed over the issue, and perhaps will develop it on another dedicated thread.

[Quijote]

Having dealt with Bruckner, I must admit I haven't been listening to any Beethoven very recently. I did go out for a walk with my daughter earlier today, and heard some Ceilith (please check spelling) music played by buskers : violin, hand-held drum and guitar. It was very pleasant, and well executed. I noticed how in this sort of music the violinist never leaves first position. I'll let Chris and Megan explain that to you all. Hah !

[Quijote]

Just listened to Van Beethoven's 7th. I think he's "ripe for the madhouse".
Well, that's what Weber said. Also, a review published in a newspaper of the day said:

"Mr. Van Beethoven goes his own path, and a dreary, eccentric, and tiresome path it is: learning, learning, and nothing but learning, but not a bit of nature or melody. And, after all, it is but a crude and undigested learning, without method or arrangement, a seeking after curious modulations, a hatred of ordinary progressions, a heaping up of difficulties, until all the pleasure and patience are lost."

How right he was.

Absholutley [sic], couldn't agree more. I rate this symphony very highly, but I ask you to whistle (with aisance) it's main theme.

[Roehre]

Today:

Last night’s R3 Hear and Now
(Stockhausen and Saunders)

JSBach:
Cantatas BWV 92 and 144 (both for Septuagesimae, today)

Berio:
Points on the Curve to find (1974)
Concertino (1951)
Chemins IV (1975)
Linea (1973)

Ligeti:
Lontano (1967)

Pousseur:
Quintette à la Mémoire de Webern (1954)
Petite chronique illustrée (1976)

Bruckner:
Symphony no.6 (R3: DM – a very lacklustre business IMO)

Ketting:
Symphony no.4 (2007)

[Sorrano]

Bruckner 8th, Scherzo. Some on this forum complain about the Sterbas introducing sex into discourse on music. I've never read any work by them, but sex has always been (and always will be) in music. Knock-out Scherzo by Anton !! Check it out!!

This is my favorite Scherzo from any work. Sorry to have not responded on this subject (Bruckner and his 8th); I haven't had a lot of time to take a look at which versions I currently have. The Jochum performance is the Nowak, which is the one I listen to the most, but that is for the sake of the performance. There is a Giulini performance, also of the Nowak but I will not listen to it because it is so abominably slow and lacks any luster. Unfortunately, I no longer have the Haitink which is my favorite of the performances. As for the differences between the versions, I will have to re-listen when I get some more time.

[Sorrano]

Damn, I just made a false move on the keyboard and have lost my posting ... Merde, a million putain fois, hijo de puta que sea yo!

I sure hate when that happens!

[Sorrano]

This morning: "Mountains and Rivers without End" by Hovhaness. Anyone here familiar with his works? I quite like them.

[Megan]

Bruckner 8th, Scherzo. Some on this forum complain about the Sterbas introducing sex into discourse on music. I've never read any work by them, but sex has always been (and always will be) in music. Knock-out Scherzo by Anton !! Check it out!!

Agreed Philip, Bruckner's 8th is a masterpiece and the the Scherzo is quite amazing! Wish I hadn't neglected exploring Bruckner more, but it is never too late.
I am hoping to attend a live performance!

[Quijote]

Agreed Philip, Bruckner's 8th is a masterpiece and the the Scherzo is quite amazing! Wish I hadn't neglected exploring Bruckner more, but it is never too late.
I am hoping to attend a live performance!

I'm delighted to hear you say that, Megan!

[Roehre]

Today:

Alpaerts:
Romance for violin and orchestra (1928) (R3:TtN)

Ketting:
Symphony no.3 (1990)

Pousseur:
7 Verses des Psaumes de la Pénitence
Declarations d'Orage (1988)