Rave review for Hamelin's Szymanowski on ClassicsToday
Sonarrat
Karol Szymanowski's Mazurkas take their cue from Chopin's fusion of
folkloric elements and the utmost in harmonic sophistication, albeit from an
early 20th century vantagepoint. The intricate yet idiomatic keyboard writing
conveys a wealth of moods, and the composer's sensual nature nearly always
hovers over the proceedings. Marc-André Hamelin is the ideal pianist to take up
Szymanowski's cause, given his reputation for championing works of substance
that lie off the central piano repertoire's hackneyed trail. The more I hear
Marc play, the more I'm convinced that his infallible fingers aren't connected
to his hands but directly to his central nervous system. He tackles the
composer's polytextural demands with split-second precision and the most focused
tone imaginable. Listen to his ravishingly controlled soft playing in the
impressionistic Op. 62 No. 2 Mazurka, or how even the sharpest staccato octaves
and chords (Op. 50 Nos. 18 and 20 for example) are uniformly centered and
full-bodied at all dynamic levels.
To be sure, there are other ways to play these works. Pianist Pawel
Kamasa, on Koch Schwann, is a more intimate, yielding pianist than Hamelin, and
even more of a colorist (his disc includes the Op. 50 and Op. 62 only). Martin
Jones, who recorded Szymanowski's complete piano works for Nimbus, doesn't match
Hamelin's singular sheen, yet his more emphatic, heavily accented approach to
the Mazurka rhythm cogently evokes the music's earthy underside and origins in
dance. Op. 50 No.6 is a case in point. Here Jones treats the left-hand repeated
notes as a rhythm section upon which the right hand melodies can soar. Hamelin,
by contrast, lets the melody take a more flippant lead. While I'll keep Jones in
my collection for dancing, I'll place Hamelin's recording squarely on the
reference throne for pianistic sophistication and prowess--and for Hyperion's
excellent engineering.
--Jed Distler, ClassicsToday.com
--
Anyone heard them to confirm? I asked Hamelin about this project when he
visited Oberlin, and he was visibly excited.
-Sonarrat.
Dan Koren
news:vklsdvs...@corp.supernews.com...
>
> Anyone heard them to confirm? I asked Hamelin
> about this project when he visited Oberlin,
> and he was visibly excited.
>
Have ordered the CD and will report as soon as I
get a chance to listen.
However, I am somewhat wary of reviews written
by Jed Distler.
dk
deac...@yahoo.com
wrote:
I have now listened to this CD twice. And I still cannot hear what
people find in this music. Obviously MAH loves this music, but he
likes a lot of things I don't think much of: e.g. the Dukas Sonata.
Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
well, I suppose, but I can imagine others doing it well too.
But my question si WHY!!!
TD
MrT
> I have now listened to this CD twice. And I still cannot hear what
> people find in this music. Obviously MAH loves this music, but he
> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
> well, I suppose, but I can imagine others doing it well too.
>
> But my question si WHY!!!
>
Because a lot of people, including people of considerable pianistic
discernment (Rubinstein, Horszowski, for example), have considered
Szymanowski a terrific composer.
I find nothing strange in Hamelin choosing to play this hauntingly
beautiful, sensual music. That many pianists prefer to play Beethoven
badly (and bore everybody) instead of trying Szymanowski does not mean
that this composer's music is unworthy. In fact, it's great music and
has a lot of surface appeal. If we are going to count heads, how many
famous pianists have had Granados, Fauré, Busoni, Albéniz or
Villa-Lobos in their repertoires. These are all great composers for
the piano.
And I happen to love the Dukas sonata. What don 't you like about it?
Yes, it's massive, but so are the Diabellis and the Busoni concerto.
Just to get some perspective on your background, who do you consider
are the great Polish composers of the last century? My own roster
includes Szymanowski (with Panufnik, Lutoslawski, Bacewicz and Baird).
I notice that Distler forgot to mention Martin Roscoe's fine
recordings for Naxos --much better than Martin Jones's, and better
recorded.
Best regards,
MrT
deac...@yahoo.com
>deac...@yahoo.com wrote in message news:<fanmkvgj2oj2tguo0...@4ax.com>...
>
>> I have now listened to this CD twice. And I still cannot hear what
>> people find in this music. Obviously MAH loves this music, but he
>> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
>> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
>> well, I suppose, but I can imagine others doing it well too.
>>
>> But my question si WHY!!!
>>
>
>Because a lot of people, including people of considerable pianistic
>discernment (Rubinstein, Horszowski, for example), have considered
>Szymanowski a terrific composer.
I don't listen to music because Rubinstein or Horzowsky liked it.
>
>I find nothing strange in Hamelin choosing to play this hauntingly
>beautiful, sensual music. That many pianists prefer to play Beethoven
>badly (and bore everybody) instead of trying Szymanowski does not mean
>that this composer's music is unworthy.
But it doesn't make it great or worth listening to, either.
In fact, it's great music and
>has a lot of surface appeal.
Great how? Surface appeal? Does it even HAVE a surface?
If we are going to count heads, how many
>famous pianists have had Granados, Fauré, Busoni, Albéniz or
>Villa-Lobos in their repertoires. These are all great composers for
>the piano.
Well, quite a few, actually, including Rubinstein, mentioned above.
>
>And I happen to love the Dukas sonata.
That figures. It is unmitigated trash!
What don 't you like about it?
Everything.
>Yes, it's massive, but so are the Diabellis and the Busoni concerto.
>
>Just to get some perspective on your background, who do you consider
>are the great Polish composers of the last century? My own roster
>includes Szymanowski (with Panufnik, Lutoslawski, Bacewicz and Baird).
I don't rate composers by nationality.
>
>I notice that Distler forgot to mention Martin Roscoe's fine
>recordings for Naxos --much better than Martin Jones's, and better
>recorded.
I cannot imagine anyone caring one way or the other.
TD
Dave'n'Alias
<deac...@yahoo.com> wrote in message
news:d5enkv05mf2l8sj3a...@4ax.com...
> On 26 Aug 2003 12:00:17 -0700, symbi...@yahoo.com (MrT) wrote:
>
> >deac...@yahoo.com wrote in message
news:<fanmkvgj2oj2tguo0...@4ax.com>...
> >
> >> I have now listened to this CD twice. And I still cannot hear what
> >> people find in this music. Obviously MAH loves this music, but he
> >> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
> >> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
> >> well, I suppose, but I can imagine others doing it well too.
> >>
> >> But my question si WHY!!!
> >>
> >
> >Because a lot of people, including people of considerable pianistic
> >discernment (Rubinstein, Horszowski, for example), have considered
> >Szymanowski a terrific composer.
>
> I don't listen to music because Rubinstein or Horzowsky liked it.
> >
> >I find nothing strange in Hamelin choosing to play this hauntingly
> >beautiful, sensual music. That many pianists prefer to play Beethoven
> >badly (and bore everybody) instead of trying Szymanowski does not mean
> >that this composer's music is unworthy.
>
>
> But it doesn't make it great or worth listening to, either.
I have recently discovered Szymanowski and have completely fallen in love
with his music... I have his violin concertos, krol roger, stabat mater,
symphonies 3 and 4
I think his music is great and very much worth listening to. And I will
definately be checking out the above recording!
Steve Molino
news:bigfah$8oq56$1...@ID-163212.news.uni-berlin.de...
I love Szymanowski too, but found this recording very dull. It is
well-played but doesn't seem to really be "inside" the idiom of this music.
Sadly, I do not know any complete performances of these Mazurkas that are
great, but the individual recordings of various works by Rubinstein, Rudy,
and Kvapil show that the music is great. But this recording is not.
Paul Goldstein
responded to Mario:
>>I notice that Distler forgot to mention Martin Roscoe's fine
>>recordings for Naxos --much better than Martin Jones's, and better
>>recorded.
>
>I cannot imagine anyone caring one way or the other.
You cannot imagine quite a lot, Tom. Do you have an imagination? Is your
solipsism impenetrable?
Paul Goldstein
David Hurwitz
>> But it doesn't make it great or worth listening to, either.
>
>I have recently discovered Szymanowski and have completely fallen in love
>with his music... I have his violin concertos, krol roger, stabat mater,
>symphonies 3 and 4
>
>I think his music is great and very much worth listening to. And I will
>definately be checking out the above recording!
>
Don't forget Harnasie (a fabulous choral ballet), the two string quartets, and
the super-sexy Mythes, one of the glories of the violin and piano repertoire and
far too infrequently played.
Dave Hurwitz
deac...@yahoo.com
wrote:
I doubt it.
As for my imagination, it is up and running. But I still cannot
imagine anyone finding Szymanowski's piano music interesting. Debussy,
yes, Ravel and Faure, of course. Chaminade, a la rigueur. But
Szymanowski? Musical diarrrhoea, more or less.
TD
Raymond Hall
news:7a96283a.03082...@posting.google.com...
| deac...@yahoo.com wrote in message
news:<fanmkvgj2oj2tguo0...@4ax.com>...
|
| > I have now listened to this CD twice. And I still cannot hear what
| > people find in this music. Obviously MAH loves this music, but he
| > likes a lot of things I don't think much of: e.g. the Dukas Sonata.
| > Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
| > well, I suppose, but I can imagine others doing it well too.
| >
| > But my question si WHY!!!
| >
|
| Because a lot of people, including people of considerable pianistic
| discernment (Rubinstein, Horszowski, for example), have considered
| Szymanowski a terrific composer.
As do many posters here. And rightly so. Many believe him to be the greatest
Polish composer.
| Just to get some perspective on your background, who do you consider
| are the great Polish composers of the last century? My own roster
| includes Szymanowski (with Panufnik, Lutoslawski, Bacewicz and Baird).
|
| I notice that Distler forgot to mention Martin Roscoe's fine
| recordings for Naxos --much better than Martin Jones's, and better
| recorded.
Indeed. Martin Roscoe is very good in Syzzy, and I have the three volumes so
far. Is there going to be a 4th volume?
Other piano music that is well worth getting to hear, and miles away from
the warhorse stuff which people burned out on in their youth, is that by
Villa Lobos, Mompou (perhaps, secretly my favourite), and that by Dohnanyi.
His Ruralia Hungarica, Concert Etudes are quite wonderful.
Basically, it is a question of stepping slightly outside of the "comfort
zone of familiarity" without going anywhere near such people as Boulez.
Regards,
# http://www.users.bigpond.com/hallraylily/index.html
See You Tamara (Ozzy Osbourne)
Ray, Taree, NSW
Sonarrat
> wrote:
> >> Anyone heard them to confirm? I asked Hamelin
> >> about this project when he visited Oberlin,
> >> and he was visibly excited.
> >>
> >
> >
> >Have ordered the CD and will report as soon as I
> >get a chance to listen.
> >
> >However, I am somewhat wary of reviews written
> >by Jed Distler.
> I have now listened to this CD twice. And I still cannot hear what
> people find in this music. Obviously MAH loves this music, but he
> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
> well, I suppose, but I can imagine others doing it well too.
>
> But my question si WHY!!!
Obviously, I don't share your sentiment. I feel Szymanowski is a terrific
composer, and the Mazurkas are certainly foremost among his output. Perhaps you
were expecting Chopin?
-Sonarrat.
deac...@yahoo.com
<hallr...@bigpond.com> wrote:
>Basically, it is a question of stepping slightly outside of the "comfort
>zone of familiarity" without going anywhere near such people as Boulez.
How lacking in courage, Ray.
The nice thing about Boulez - nice is perhaps not the best word - is
that it has a definite profile, a solid edge, a real character, unlike
Szymanowski, which is just mildly dissonant stuff. Mazurkas, indeed!
And in the 20th Century. People used to criticize Rachmaninoff for his
constant looks backward. Szymanowski goes him one better.
Anyway, tastes will always differ. I would rather hear all the sonatas
by Boulez over and over than to listen to more Szymanowski Mazurkas.
TD
deac...@yahoo.com
wrote:
The problem is that words like "great" and "terrific" don't really
convince me. Some might even use the words for Chaminade, depending on
the context. If a case can be made for such stuff - and I doubt it, of
course - it has to get down to something more substantial than the use
of these very generix words.
As for Chopin, no, I wasn't expecting him to reappear. But I do find
it slightly disturbing to see Mazurkas reappearing in the 20th
Century. Just imagine Waltzes by Schoenberg - no, not his rrangements
- or Webern or Stockhausen! Now I like local colour as much as the
next man, but reviving this little form is quite silly.
TD
Stephen North
I suspect that one needs to get in touch with one's erotic side to
appreciate this music: think lingering caresses and carnal pleasures.
S
Larry Rinkel
<deac...@yahoo.com> wrote in message
news:ntvokv08tcuo9clmg...@4ax.com...
>
> As for Chopin, no, I wasn't expecting him to reappear. But I do find
> it slightly disturbing to see Mazurkas reappearing in the 20th
> Century. Just imagine Waltzes by Schoenberg -
Not at all difficult to do if you turn to the parodic Valse de Chopin from
Pierrot Lunaire, or perhaps more significantly the Waltz from the 5 Piano
Pieces, Op. 23 (Schoenberg's first 12-tone piece). And then there are his
minuets, as in the Serenade, Op. 24 and the Suite for Piano, Op 25, not to
mention a couple of other Baroque dance forms (gavotte with drone bass
musette and gavotte da capo, and a final gigue) in the latter. And a gigue
as the finale to the Suite, Op. 29. As Schoenberg established his row
technique, he turned fairly often to older forms of this type as one method
of large-scale organization (something he felt no need to do in his
pre-serial, freely atonal - and IMO, generally more successful - works from
roughly Op. 11 through 22).
- no, not his rrangements
> - or Webern or Stockhausen!
I concede these two, of course (though there may be some pre-opus number
Webern I haven't heard about). But in Alban Berg, as Boulez wrote of the
Chamber Concerto, "there is no escaping the langsames Walzer-Tempo."
Alan Cooper
>
>As for Chopin, no, I wasn't expecting him to reappear. But I do find
>it slightly disturbing to see Mazurkas reappearing in the 20th
>Century. Just imagine Waltzes by Schoenberg - no, not his rrangements
>- or Webern or Stockhausen! Now I like local colour as much as the
>next man, but reviving this little form is quite silly.
I can see plenty of reasons for disliking Szymanowski's music (its
opulence, its meandering, etc.), although I love it myself. But this
reasoning is ridiculous. The mazurka is just a dance. Why shouldn't
anyone want to write one at any time--particularly a Polish composer
to whom the form is native? I suppose you would put the Mazowsze
Polish State Dance Company out of business because they're still
dancing the thing. And what about composers who use obsolete
18th-century musical forms like "Concerto," "Symphony," and "String
Quartet?" Gotta put a stop to that, too. You're not going to have
much to listen to ;-)
AC
deac...@yahoo.com
wrote:
So you really think there is still life in the "symphony" and
"concerto", do you?
Hmmmmm.
I admit that Corigliano did an OK job a few years back, but I haven't
seen any symphonies by Adams, or Stockhausen, or Boulez. Carter has
written in classical forms, but surely his music is even more esoteric
- read ungrateful to listen to - than Boulez!
And I certainly have no intention in preventing anyone from dancing
the odd mazurka if their feet feel so tempted. But I think I'll leave
the form to Chopin, thank you, and move on to other things of more
contemporary nature.
TD
Marcus Maroney
> The problem is that words like "great" and "terrific" don't really
> convince me. Some might even use the words for Chaminade, depending on
> the context. If a case can be made for such stuff - and I doubt it, of
> course - it has to get down to something more substantial than the use
> of these very generix words.
Shouldn't this criterion apply when someone calls a piece a "dog" or
says they don't like something? Or is there a double standard?
Szymanowski's music is quite original, especially as far as texture
and rhythm are concerned (who else predating him produced music with
such fluid textures?). Add some haunting melodies, exquisite, quite
advanced harmonies (that don't disorient the listener - if you think
they're "anachronistic" I'd like to see a Roman numeral analysis...),
and wonderful sense of drama (even in the shortest works). I find
much attractive in his piano (and other) music, especially the later
works. As for saying "great" and "terrific", well that's not really
for me to decide, but I do like listening to his music.
> As for Chopin, no, I wasn't expecting him to reappear. But I do find
> it slightly disturbing to see Mazurkas reappearing in the 20th
> Century.
So I guess Scriabin, Britten, Villa-lobos, etc. are also disturbing.
Why wouldn't a Polish composer want to write Mazurkas? Seems pretty
natural to me.
> Just imagine Waltzes by Schoenberg - no, not his rrangements
> - or Webern or Stockhausen! Now I like local colour as much as the
> next man, but reviving this little form is quite silly.
Again, this is really an absurd idea. At what point in time should
waltzes be no longer composed? After Beethoven? Brahms? Chopin? J.
Strauss, et al.? It's a dance form and can be quite convincing when
conceived as such and done in an original manner, as Szymanowski does
with the Mazurka.
Cheers,
Marcus Maroney
marcus dot maroney at yale dot edu
Steve Emerson
wrote:
> And I certainly have no intention in preventing anyone from dancing
> the odd mazurka if their feet feel so tempted. But I think I'll leave
> the form to Chopin, thank you, and move on to other things of more
> contemporary nature.
What interests me most about Szymanowski's mazurkas is precisely their modern
aspects. Their harmony, tonality, their abrupt conclusions.
SE.
Steve Emerson
"Steve Molino" <s_mo...@hotmail.com> wrote:
> I love Szymanowski too, but found this recording very dull. It is
> well-played but doesn't seem to really be "inside" the idiom of this music.
> Sadly, I do not know any complete performances of these Mazurkas that are
> great, but the individual recordings of various works by Rubinstein, Rudy,
> and Kvapil show that the music is great.
Horszowski's are also splendid. For the complete mazurkas, try Kamasa's if you
haven't.
SE.
Sonarrat
<deac...@yahoo.com> wrote in message
news:ntvokv08tcuo9clmg...@4ax.com...
> On Tue, 26 Aug 2003 23:53:41 -0700, "Sonarrat" <sona...@postmark.net>
> wrote:
>
> ><deac...@yahoo.com> wrote in message
> >news:fanmkvgj2oj2tguo0...@4ax.com...
> >> On Tue, 26 Aug 2003 07:49:19 GMT, "Dan Koren" <dank...@yahoo.com>
> >> wrote:
> >
> >> >> Anyone heard them to confirm? I asked Hamelin
> >> >> about this project when he visited Oberlin,
> >> >> and he was visibly excited.
> >> >>
> >> >
> >> >
> >> >Have ordered the CD and will report as soon as I
> >> >get a chance to listen.
> >> >
> >> >However, I am somewhat wary of reviews written
> >> >by Jed Distler.
> >
> >> I have now listened to this CD twice. And I still cannot hear what
> >> people find in this music. Obviously MAH loves this music, but he
> >> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
> >> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
> >> well, I suppose, but I can imagine others doing it well too.
> >>
> >> But my question si WHY!!!
> >
> >Obviously, I don't share your sentiment. I feel Szymanowski is a terrific
> >composer, and the Mazurkas are certainly foremost among his output. Perhaps
you
> >were expecting Chopin?
> The problem is that words like "great" and "terrific" don't really
> convince me. Some might even use the words for Chaminade, depending on
> the context. If a case can be made for such stuff - and I doubt it, of
> course - it has to get down to something more substantial than the use
> of these very generix words.
How about the new harmonic language with the crisp bite of a ripe orange? The
fact that these harmonies don't come at the expense of melodic discourse? The
novelty of hearing Tatra melodies?
> As for Chopin, no, I wasn't expecting him to reappear. But I do find
> it slightly disturbing to see Mazurkas reappearing in the 20th
> Century. Just imagine Waltzes by Schoenberg - no, not his rrangements
I could've sworn there was a Waltz in the Op. 23 piano suite (not the Suite, Op.
25)
> - or Webern or Stockhausen! Now I like local colour as much as the
> next man, but reviving this little form is quite silly.
Not at all. He felt he had something to add to the form, and the results are a
success.
-Sonarrat.
Larry Rinkel
>
> I could've sworn there was a Waltz in the Op. 23 piano suite (not the
Suite, Op.
> 25)
Please to refer to my post of this morning on this thread. :)
David7Gable
>- or Webern or Stockhausen!
The first piece of Schoenberg "based on" a 12-tone row was a waltz. And the
Viennese waltz certainly turns up in Berg.
-david gable
David7Gable
Woops! Larry scooped me on Schoenberg and Berg.
-david gable
David7Gable
>written in classical forms, but surely his music is even more esoteric
>- read ungrateful to listen to - than Boulez!
I don't find Carter ungrateful to listen to. Not in the least. Exhilarating
is the word that springs to mind. And there are plenty of people who love
Carter who remain indifferent to Boulez, including even my good friend Robert
Curry, an Australian pianist who played in the Australian premiere of Boulez's
Sur incises a couple of years ago. He far prefers Carter. He is also a
musicologist interested in Medieval Polish music, he speaks Polish fluently,
and he adores Chopin and . . . Szymanowski.
In any case "esoteric" would seem inadequate to describe Carter's mostly very
extrovert music.
-david gable
Raymond Hall
news:umvokv4928j5skval...@4ax.com...
| On Wed, 27 Aug 2003 11:23:24 +1000, "Raymond Hall"
| <hallr...@bigpond.com> wrote:
|
| >Basically, it is a question of stepping slightly outside of the "comfort
| >zone of familiarity" without going anywhere near such people as Boulez.
|
| How lacking in courage, Ray.
Ah, but I intend to get the Boulez sonatas. I just need a set that I can be
assured are as absolutely as authoratative as one can get. Do you know of
one?
| The nice thing about Boulez - nice is perhaps not the best word - is
| that it has a definite profile, a solid edge, a real character, unlike
| Szymanowski, which is just mildly dissonant stuff. Mazurkas, indeed!
| And in the 20th Century. People used to criticize Rachmaninoff for his
| constant looks backward. Szymanowski goes him one better.
I can see that Syzzy represents one of your "blind" spots. And besides, you
mention the Boulez sonatas. Isn't the sonata form as old as Haydn and
beyond, and what was LvB doing buggering up the well established form? I'll
tell you why. For Syzzy to come to us in the 20th century with updated
exotic harmonic garb, and present the old forms more decently. Rachmaninov
*did* write some great music, but none of it was for the piano. All treacle
and Hollywood mush.
<tic>
| Anyway, tastes will always differ. I would rather hear all the sonatas
| by Boulez over and over than to listen to more Szymanowski Mazurkas.
I have to accept your word and judgement on this, and as I said, I need to
get to hear the Boulez sonatas. I like Cage's prepared piano works.
In fact, one Arte Nova CD I am seriously thinking of ordering from overseas,
is Gielen's Konzert fur Orchester, and Three Occasions for orchestra, both
works by Elliott Carter. Ursula Oppens is the pianist. Know anything about
this one?
David Gable would almost certainly know, wouldn't he?
Sonarrat
"Larry Rinkel" <LRi...@optunderline.net> wrote in message
news:4va3b.18381$bu.69...@news4.srv.hcvlny.cv.net...
So that's three mere "enthusiasts," including a 20-year-old, who knew that while
Deacon is left eating crow.
-Sonarrat.
Larry Rinkel
"Raymond Hall" <hallr...@bigpond.com> wrote in message
news:bijpf4$a1vc2$1...@ID-101911.news.uni-berlin.de...
In fact, one Arte Nova CD I am seriously thinking of ordering from
overseas,
> is Gielen's Konzert fur Orchester, and Three Occasions for orchestra, both
> works by Elliott Carter. Ursula Oppens is the pianist. Know anything about
> this one?
>
> David Gable would almost certainly know, wouldn't he?
>
Carter, with one of the best versions of both the Concerto for Orchestra and
the Concerto for Piano. (Aber warum schreiben Sie auf deutsch? ein
musikalischer Spass, vielleicht?)
Raymond Hall
No joke or game, but basically because I didn't know whether it was Carter's
Concerto for piano and orchestra, or Carter's piano concerto (and taken from
Zweitausendeins catalogue - all in Deutsch, naturlich), and so I wrote it in
Deutsch. Some composers are pretty rigid about the exact title, although I
suspect Carter wouldn't be that pernickety.
Reading about the work, says it is a tough nut to crack (written circa 1964
or thereabouts), perhaps tougher than the Concerto for Orchestra, but at
3.99 Euros I was just about to order it, only to find that Zwei, whilst
having it in their July/August catalogue, don't show any sign of it on their
site, only minutes ago. Drat.
Just when I was going to go for it, they pull the plug on me.
Anyway, many thanks for the info. If at that price again, I'll definitely
spring for it. Incidentally, the Zemlinsky Lyric symphony, Op.18, also on
Arte Nova, is listed on the 2001 site, with the Berg Lyric suite, and Three
Pieces, conducted by Gielen (but with no texts), but I have to make up a
fair order to help snuff out the overseas delivery cost. I was thinking
about the Bach Vocal works Vol I and II, having already got the complete
Bach organ works, the secular cantatas, and the Passions.
Still pondering.
deac...@yahoo.com
So, hum it for me, David and then go out and dance to it!
TD
deac...@yahoo.com
Would you accept unknown, then?
TD
deac...@yahoo.com
<hallr...@bigpond.com> wrote:
><deac...@yahoo.com> wrote in message
>news:umvokv4928j5skval...@4ax.com...
>| On Wed, 27 Aug 2003 11:23:24 +1000, "Raymond Hall"
>| <hallr...@bigpond.com> wrote:
>|
>| >Basically, it is a question of stepping slightly outside of the "comfort
>| >zone of familiarity" without going anywhere near such people as Boulez.
>|
>| How lacking in courage, Ray.
>
>Ah, but I intend to get the Boulez sonatas. I just need a set that I can be
>assured are as absolutely as authoratative as one can get. Do you know of
>one?
Charles Rosen.
TD
deac...@yahoo.com
wrote:
"Crow" you say? I think not.
Still haven't seen anyone dancing to Schoenberg, kid!
TD
Larry Rinkel
> No joke or game, but basically because I didn't know whether it was
Carter's
> Concerto for piano and orchestra, or Carter's piano concerto (and taken
from
> Zweitausendeins catalogue - all in Deutsch, naturlich), and so I wrote it
in
> Deutsch. Some composers are pretty rigid about the exact title, although I
> suspect Carter wouldn't be that pernickety.
>
> Reading about the work, says it is a tough nut to crack (written circa
1964
> or thereabouts), perhaps tougher than the Concerto for Orchestra, but at
> 3.99 Euros I was just about to order it, only to find that Zwei, whilst
> having it in their July/August catalogue, don't show any sign of it on
their
> site, only minutes ago. Drat.
>
That Arte Nova Carter pops up on eBay and in used record stores quite
regularly, so I wouldn't worry about finding it. Ever been to DaCapo Music
in Glebe? I live in New York but have ordered scores from them - nice people
and good service.
Don't know whether it's a tough nut to crack, but you wouldn't avoid almonds
and cashews just because of the shells, would you?
Larry Rinkel
news:ovqrkv8doiqfs7s6p...@4ax.com...
Try Act II, Scene IV of Wozzeck (Marie and the Drum Major waltzing all over
the stage to an atonal but very danceable waltz:) "Immer zu! immer zu!" (Or
as 3/4-asleep Andres says in the next scene: "Lass' sie tanzen!")
Larry Rinkel
news:j7rrkvs2nrbrcc7v2...@4ax.com...
> "Crow" you say? I think not.
>
> Still haven't seen anyone dancing to Schoenberg, kid!
>
> TD
Never saw the ballet of the Golden Calf in Moses und Aron, huh?
Larry Rinkel
> That Arte Nova Carter pops up on eBay and in used record stores quite
> regularly, so I wouldn't worry about finding it. Ever been to DaCapo Music
> in Glebe? I live in New York but have ordered scores from them - nice
people
> and good service.
PS Amazon.com (USA) lists a copy of used copies, for little over $5.00 USD,
if that helps.
Larry Rinkel
<deac...@yahoo.com> wrote in message
news:a5rrkv0ojm0uphhoo...@4ax.com...
> >
> >Ah, but I intend to get the Boulez sonatas. I just need a set that I can
be
> >assured are as absolutely as authoratative as one can get. Do you know of
> >one?
>
> Charles Rosen.
>
don't know of an integral set that matches any of these performances
(certainly not Idil Biret on Naxos).
Larry Rinkel
John Gavin
> >>
> >> Anyone heard them to confirm? I asked Hamelin
> >> about this project when he visited Oberlin,
> >> and he was visibly excited.
> >>
> >
> >
> >Have ordered the CD and will report as soon as I
> >get a chance to listen.
> >
> >However, I am somewhat wary of reviews written
> >by Jed Distler.
> >
> >
> >
> >
> I have now listened to this CD twice. And I still cannot hear what
> people find in this music. Obviously MAH loves this music, but he
> likes a lot of things I don't think much of: e.g. the Dukas Sonata.
> Now THERE's a dog if ever there was one. Hamelin plays Szymanowski
> well, I suppose, but I can imagine others doing it well too.
>
> But my question si WHY!!!
>
I like the CD alot - Hamelin plays the Mazurkas with a focus and
authority I don't hear in others. I think these pieces are best heard
in small portions - they aren't well served by listening to all of
them at once. Szymanowski couldn't manage the range of variety that
Chopin achieved. A few Szymanowski Mazurkas go a long way.
deac...@yahoo.com
I agree. However a few Chopin Mazurkas at any given time go a long
way, too. It is just that they go a fair bit farther along the way
than these pieces by Szymanowski. In my opinion. As do the Mazurkas by
Scriabin.
TD
Wayne Reimer
eme...@nospamsonic.net says...
I've been very much enjoying Domanska's version of the twenty in op. 50. It's
on Olympia with a fine "Masques". It's sounds to me like she's got a strong
connection with the idiom and has the pianistic means to project her vision of
this music. It's really tasty playing.
wr