Discussion in 'Music Corner' started by George P, Mar 8, 2014.
That is the answer to almost anything.
Now Listening To
Mendelssohn. Italian and Reformation Symphonies. Charles Much, BSO. RCA SD.
And here I thought it was 42.
No definitely not 42. I think anything or everything in the quiz cited leads to Mozart.
I have the SACD, which sounds nice. Speaking of Living Stereo SACDs, the first AP releases just came out - "Scheherazade" and Respighi (how innovative ). I have no intention of spending $30 per disc to duplicate all of the titles I have from the BMG series, but I will cherry pick a few favorites. And AP was smart enough to select a number of titles that were not part of the BMG series. Those are all scheduled for release this summer .
Wolfgang Amadeus Mozart – Sonata for keyboard and violin No.3 K306, 12 Variations on a French Song "La Bergere Celimene" K359
— David Oistrakh, violin, Paul Badura-Skoda or Frida Bauer, piano
Sergei Rachmaninoff – Vocalise
— David Oistrakh, violin, Frida Bauer, piano
Bohuslav Martino – Sonata for violin and piano No.3
— David Oistrakh, violin, Inna Kollegorskaya[/b]
Paul Hindemtih – Violin Sonata No.1 Op.11/1
— David Oistrakh, violin, Vladimir Yampolski, piano (Brilliant Classics – Legendary Russian Soloists)
Gave this a spin this weekend:
Arnold Schoenberg - Variations for Orchestra, Op. 31; A Survivor from Warsaw, Op. 46; 5 Pieces for Orchestra, Op. 16; Accompaniment to a Cinema Scene, Op. 34 / Pierre Boulez, BBC Symphony Orchestra (CBS Masterworks)
Not a Douglas Adams fan, I take it. No matter. The first three of us (at least to post) ended up as Tchaikowsky, but I gather that for all of us to that point several answers were essentially random for want of a "none of the above" response.
Now, out to shovel snow. Again.
I understand you have to get 10 out of 10 correct to be Bach.
More like 12 out of 10 . . .
It's a personality test so, as they say in the business, there are no right or wrong answers ahem. However we can see that I was correct. All roads lead to Mozart unless there is something very very uh atypical about your answers.
Well - based on my answers I have the personality of a manic depressive. I hope there are "righter" answers than that.
Don't get depressed about it. It was a very goofy questionnaire.
Maybe coming up Tchaikowsky was just a hint that in my nascent Frederick Stock transfers program I need to go next to his accounts of that composer: Nutcracker Suite, Sym. 5, and Vln. Cto. with Milstein. So far have been working on Schubert (Sym. 9) and Schumann (Syms. 1 and 4).
I hope it doesn't mean that I need to drink a glass of unfiltered water....
Will you permit me a reminiscence? (If you routinely tune out those "Here's the life story of some beach volleyball back row player you never heard of" segments in Olympic coverage, you may want to move on to the next posting.) The Stock/CSO recording of Schubert's Ninth has been a much loved part of my life for a long, long time. I still remember the day when I bought it--not the precise date, but the events, anyhow. It was on a Sunday when I was in high school, sometime during my junior or senior year. My father and I were out doing some errand or other in the west end of my home town, Knoxville, Tennessee, and on the way home, hoping to do some record junking, I prevailed on him to stop at an antique mall/flea market in what's known as the Bearden area, a big barn of a thing about a block off Kingston Pike, the main drag. I'd had good luck there now and again before, and while he wasn't into records, he enjoyed browsing through the other odds and ends in such places, so it made a nice father/son activity. And sure enough, there at one of the booths was this Schubert set. Now, I'd never heard of the piece, much less heard it, but in those days I didn't have such an embarrassment of riches as I have today, and I was curious, and it wasn't too expensive (the album still bears the "$1 each" price notation, in marking pen, on the cover), so I bought it. When we got home, I started playing it while Dad watched a ball game in the same room, as he habitually did with the TV sound off. He didn't much care for the music--I think his words, about midway through, were along the lines of "how much longer does this thing go on, anyhow?"--but for me it was instant love. As college approached, it was one of the sets that I dubbed to cassette to take with me, editing out breaks as best I could with the pause control. As a freshman, I went sort of nuts over that tape for a while, playing it several times a day for weeks on end. Since then, I've come back to the recording once in a long while, but out of convenience and developing interest in other conductors (yes, Arturo T., this means you!) it's probably been a decade, at least, since my last playing, and up to now I've never done a proper transfer and editing job on it. Needless to say, with Dad gone almost two years now, the process has been not only a pleasant re-acquaintance but also quite the wistful trip down memory lane.
Nice story. My first Schubert 9th was Arturo and the Philadelphians. Loved it the first time I heard it.
My stories about my dad and music revolve around the Great American Songbook, and in particular, Frank and Ella, so they belong on another thread. However, let me just say that the recent MFSL releases of Songs for Swingin' Lovers and A Swingin' Affair have brought back a lot of memories. For anyone with the slightest interest in that kind of music, I can only say that I posted on that other thread that these were the two most revelatory hi-rez recordings I had ever purchased.
I've got those two Sinatra LPs on the original Grey Label Capitol series. That something that old sounds that good continues to amaze me. As for Schubert's Great C Major Symphony my first was Herbert von Karajan on DGG. Whatever you might think of the Maestro, Karajan's second studio recording of that hunk of proto-Bruckner seems to be one of the more together performances and mostly devoid of nostalgia or sentimentality.
Sorry to stay off-topic, but Matt Lutthans has reached the heretical conclusion that the SACDs are superior even to the Grey Label Capitols.
Well they do use a string section, have to assume the Hollywood String Quartet was involved somehow:
Mozart probably is not even among my top five ...
By then, I already quit buying Angel LP's. IIRC, the packaing of Angel never changed, the same unattractive American look as in the 70's ...
It is sadly the case that it took pressure from the arrival of the CD to improve US LP labels production. You also are correct about the mediocre artwork by Angel, not limited to them of course. Even the LP label designs have gone steadily downhill from the 78s and early LPs. The EMI blue and silver label was one of the most beautiful ever.
Patiently I waited for The Wagner Year to end... Then I grabbed the goods-aesthetically/ware-aesthetically (Warenästhetik > -ästhetisch) fine box (I could, of course, have ripped the music from library ceedees, but hey: it's this special package that I simply wanted ).
Everything has gone downhill from 78s!
[Sorry--just couldn't resist a straight line like that.]
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