Discussion in 'Music Corner' started by George P, Apr 22, 2014.
This seems to be the SACD everyone and his cousins have ...
I used to work out of Newark for close to ten years, working for the largest employer in that city and the second largest employer in NJ.
Very true, but guitarists are always coopting repertory from other instruments to supplement the thin first-rank material native to their own. Lute music in particular gets transcribed for guitar a lot. (Not implying that's good or bad, by the by; it's just a fact of record buying.) Back when I started collecting LPs, finding Scarlatti on harpsichord was a real chore, but his sonatas were readily available in all manner of guitar transcriptions.
I always avoid (true) classical muisc performed on guitar period ...
You should try Scarlatti on the clarinet. I will sometimes use a collection of transcriptions as practice etudes. Of course, the clarinet can only produce one note at a time, so it's an especially pale imitation of the original, but they are enjoyable nonetheless.
As I mentioned recently, I have a Scarlatti transcriptions for the harp on disc. I also have quite a few for the guitar and, of course the piano. I like them all. As well as Scarlatti on the harpsichord.
(And "Parkening Plays Bach" was my first classical "comfort album." I still enjoy it.)
Now playing CD3 from the following box for a first listen ...
Johannes Brahms – Piano Sonata No.3 in F minor, Op.5
— Arthur Rubinstein (RCA Victor Red Seal Records – Sony Music)
It was a disconnect, as I actually played CD3 of the following set, also by the AAM
Now playing CD5 from the following box for a first listen ...
I actually like Scarlatti performed on piano by Angela Hewitt. Listening to Scarlatti on the clarinet may give you vertigo ...
Next to play, CD4 from the following set for a first listen and a nice change of pace to non-HIP ...
I meant to ask this then but got off track: is that an album called "Scarlatti's Harp" by Victoria Drake on Well Tempered? I have that one. An interesting idea, but I concluded that ultimately the harp sounds so much like a harpsichord that I'd rather just go ahead and listen to a harpsichord.
I think my sole other recording on Well Tempered is a collection of partly classical standards (Khachaturian sabre dance, etc.) arranged for handbell choir.
A little JS Bach, now playing CD12 from the following box for a first listen ...
Whenever Amazon US has the best price for some CD, chances are it is temporarily unavailable and that has happened many times to me already.
BTW, This recording did not include Ruth Cunningham, one of the original A4. I am too lazy to look up the name of the new member ...
That's one of them.
I also have a couple by Susan Miron.
Gee - I don't think the harp and harpsichord sound alike at all.
I found most of the "original" Classic Records LPs about a year and a half ago at Goodwill.Sold them to Chinese buyers for some OK money.The Munch Fantastique was the only one I kept.
I can easily accept what you say about your "OK Asian sell deals"'. Locally I am amused, always keeping a eye on the shop windows of a Hi Fi shop in one of our pre dominant Asian populated shopping districts.
It fits with those of their culture that are known to be alsolute / no compromise, in paying silly money for getting that 'perfect edition' of some cult classical recording or reputed preferred forms of Hi Fi hardware. In the windows, there is various great hulks of Chinese mono block valve amps, massive turntables set ups and point-source floor standing speaker 'monitors' .... comically coupled by speaker cables that would (without any exaggeration!) would compliment the radial size of a mature boa constrictor.
It appears such enthusiasts forget all 'good things do indeed, to an end'...literally in the case of such cables. They then must finally severely be narrowed down to ' what is to them, a form of doorbell wire thickness' to allow coupling to speaker and amp terminals.
I am surprised to be always reading of the 'constant brilliance' of late 50's/early 60's RCA Living Stereo recordings especially now so many 'are dressed up' in SACD. Heavens, Berlioz's Symphonie Fantasique has been used for some reason I do notunderstand as the 'go-to' music for Hi- Fi set -ups from the 50's days of two ton pick up playing weights on vinyl'. I find a lot of Berlioz works ... 'jumbled messes'. About 40 years ago, I even came across a set of 15" 78RPM bakelite recordings of this Berlioz above mentioned work , in a dirty old dusty second hand shop.
Yet we hear little or no mention of the excellence not only of achievable reproduction but also pressing standards of DMM (Direct Metal Mastered ) recordings from the likes of EMI/Telefunken and others from around the last days of 'full-on' vinyl releases -circa start of the 1980's. DMM reputed to have a wider frequency response capability than CD ...that, being up to 22KZ.There....one could quickly hear sonic differences.. Nor were they offered for saler at fancy up market prices by the manufacturing companies , involved. Nor did these DMM releases (then.... what was actually recently new recorded material) show they were produced with stretched / boosted ...tizzy sounding frequency responses from some 50/ 60's microphones that at times, clearly showed an inability for quite a few of those RCA releases to handle the sheer musical intensity , of what they was trying to capture.
Shh! (Don't reveal everything...!)
Happy New Year! errr - I mean Memorial Day.
(Listening to Bruno Walter conducting Strauss Waltzes)
Now listening to CD 1 from "Music Of The Gothic Era" by David Munrow and The Early Music Consort Of London on Archiv.
Probably 12", actually; true, Pathe issued 14" records for domestic use during the acoustic era and up to 20" for commercial use (in bars, restaurants, and such), but I don't think there was a Pathe Symphonie Fantastique issue at that time--although there was a series of relatively complete opera issues, and you can take it from me that a complete opera on 80 RPM (paper label) or 90 RPM (etched label) abnormally short-playing disks (Pathe used a very broad, shallow vertical cut groove), particularly if they happen to be pressed at 14", is an impressive sight. Of course, there were 16" disks for broadcast purposes; perhaps that's what you saw, if it was in fact larger than 12".
Incidentally, the records would not have been of Bakelite. Standard 78s were pressed in shellac. Edison disks were 1/4" thick laminated pressings with surfaces in a phenolic resin called "Condensite," Edison's own formulation that did somewhat resemble Bakelite, but I don't think Edison issued so much as a single outtake from the S.F., much less an complete traversal.
Over here, the most commonly found Symphonie Fantastique on 78s is the Monteux/San Francisco RCA Victor issue from the '40s, six 78 RPM disks. I believe Weingartner did one in the '30s for Columbia; I've never seen that one but would love to latch onto a copy some day.
As to Berlioz, I guess one man's "jumbled mess" is another man's "unconventional work of genius." He's quite a favorite in my household, or at least with me. If you need an example of the contrast between a work of genius and one just of high craftsmanship, take a back-to-back listen to the Berlioz and Gounod treatments of the King of Thule ballad. Granted the Berlioz Damnation of Faust is problematic in the theater--Gounod was far the more practical composer in that regard--the Berlioz setting will tear your heart out and makes the Gounod, lovely and deservedly beloved as it is on its own terms, seem square by comparison.
Speaking of guitar...
Paganini supposedly was an excellent guitarist as well as violinist. Are these his own arrangements?
I have this twofer so, I guess it is not so much coincidence ...
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