getting ready for two days of pure LvB and a week of VvG in Amsterdam
usually i would go for best listening seats for what i can afford but for the 9th, i got the closest seats to the orchestra, i want to feel the instruments playing the 9th not just hear it. if i could sneak into the chorus, i would.
Beethoven - Ouverture 'Leonore' nr. 3 (uit 'Fidelio', op. 72)
Beethoven - Vierde symfonie in Bes, op. 60
Beethoven - Zevende symfonie in A, op. 92
Beethoven - Eerste symfonie in C, op. 21
Beethoven - Negende symfonie in d, op. 125
people who critique Beethoven from a technical perspective miss the point. artists don't create for historians, musicologists, critics, etc, we create for the human experience. that's all that matters.
Last edited by painter_mindscapes; 02-21-2012, 04:03 PM.
Reason: addendum
getting ready for two days of pure LvB and a week of VvG in Amsterdam
usually i would go for best listening seats for what i can afford but for the 9th, i got the closest seats to the orchestra, i want to feel the instruments playing the 9th not just hear it. if i could sneak into the chorus, i would.
Beethoven - Ouverture 'Leonore' nr. 3 (uit 'Fidelio', op. 72)
Beethoven - Vierde symfonie in Bes, op. 60
Beethoven - Zevende symfonie in A, op. 92
Beethoven - Eerste symfonie in C, op. 21
Beethoven - Negende symfonie in d, op. 125
people who critique Beethoven from a technical perspective miss the point. artists don't create for historians, musicologists, critics, etc, we create for the human experience. that's all that matters.
Nice combination, as the Concertgebouw is at the far end of the Musuemplein (officially that's the Van Baerlestraat), with the Van Gogh Museum at one side of the Museumplein (and the Rijksmuseum at the other end, you might say opposite the Concertgebouw, but the whole of the Museumplein is between these two buildings).
You just copied the Dutch contents of the CG, I suppose?
Who's playing, RCO with Janssons, or another orchestra with another conductor?
Leonore 3+4+7 and 1+9 were more or less the "standard" combinations for the CGO's Beethoven cycles under Mengelberg and Jochum.
Nice combination, as the Concertgebouw is at the far end of the Musuemplein (officially that's the Van Baerlestraat), with the Van Gogh Museum at one side of the Museumplein (and the Rijksmuseum at the other end, you might say opposite the Concertgebouw, but the whole of the Museumplein is between these two buildings).
You just copied the Dutch contents of the CG, I suppose?
Who's playing, RCO with Janssons, or another orchestra with another conductor?
Leonore 3+4+7 and 1+9 were more or less the "standard" combinations for the CGO's Beethoven cycles under Mengelberg and Jochum.
yes but i'm listening to Furtwangler's conducting not Haitink's
gett
people who critique Beethoven from a technical perspective miss the point. artists don't create for historians, musicologists, critics, etc, we create for the human experience. that's all that matters.
Like (in B's case) e.g. Wellington's Sieg, the military marches for the Bohemian militia, the folksong arrangements, the variation sets opp.105 and 107, Die Ruinen von Athen, König Stephan, just to stick to a couple of works from especially the end of the "heroic Beethoven".
Like (in B's case) e.g. Wellington's Sieg, the military marches for the Bohemian militia, the folksong arrangements, the variation sets opp.105 and 107, Die Ruinen von Athen, König Stephan, just to stick to a couple of works from especially the end of the "heroic Beethoven".
from someone who never created anything that moved anyone.
Well, I had to listen to a couple of Beatles songs now that you given me a taste for them in the other thread. Maybe 'Happy Birthday'. Also I'll throw in a Beethoven before the end of the day.
Heard the Moonlight Sonata on the radio and just had to keep listening. Somehow, even a Beethoven piece that is played so often is still so captivating that I cannot change the station. Also heard some of the Triple Concerto too.
Donald Macleod explores Purcell's music for a spectacular 1692 adaptation of Shakespeare's A Midsummer Night's Dream, The Fairy Queen. Later that year the London stage faced disasters involving its principal performers - the worst being the murder of the actor William Mountfort, by an army officer, over the star actress Anne Bracegirdle. This was a bad omen for the United Company, which thanks to financial mismanagement was on the brink of collapse.
.Music played
Henry Purcell — Music for a while
Performer: James Bowman (tenor), The Academy of Ancient Music, Christopher Hogwood (conductor)
--:-- Henry Purcell — Hang this whining way of wooing; No, no, poor suff'ring heart
Performer: Emma Kirkby (soprano), The Academy of Ancient Music, Christopher Hogwood (conductor)
Decca 4755292, 5 : 24 & 26 --:-- Henry Purcell — The Fairy Queen: Sonata while the sun rises
Performer: The Parley of Instruments, Roy Goodman (conductor)
Hyperion CDS443813, 3 : 28 to 31 --:-- Henry Purcell — The Fairy Queen (Extract from Act II)
Performer: Jeffrey Thomas (alto), Caroline Stam (soprano), Anne Grimm (Night), Nadia Ragni (Mystery), Geraint Roberts (secrecy), Donald Bentvelsen (Sleep), The Amsterdam Baroque Orchestra and Choir, Ton Koopman (conductor)
Erato 4509-98506-2, 7 to 20 --:-- Henry Purcell — No, no, no resistance is but vain
Performer: Emma Kirkby (soprano), Evelyn Tubb (soprano), The Consort of Musicke, Anthony Rooley (director)
Musica Oscura 070977,
‘Roses do not bloom hurriedly; for beauty, like any masterpiece, takes time to blossom.’
A minor violin sonata, Opus 23. Perlman & Ashkenazy. This was originally published with the same opus number as the more famous "Spring" sonata but it became seperated.
Anne-Sophie Mutter has mentioned somewhere that they should be played or listened to as a pair - the darker more urgent tones of the A minor complementing the sunnier Opus 24.
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