Lang Lang gets Slam-banged in the NYT
Mazzolata
--
------------------------------------------------------------------
Got to get behind the mule
in the morning and plow
deac...@yahoo.com
wrote:
>http://www.nytimes.com/2003/11/10/arts/music/10LANG.html
Thank you for pointing me to this review.
I could have written it myself after hearing him destroy Beethoven's G
major Concerto in Toronto last Spring.
Gary Grafman should hang his head in shame that he allowed this
talented by naive boy graduate from Curtis. How could that happen? He
clearly doesn't know a thing about what he plays. He plays
brilliantly, of course, if clearly in the "wow'em" way.
If recent reviews of the Tchaikovsky from France are any indication,
the feet of clay have already begun to show.
Mr. Tommasini not easily fooled; neither am I.
TD
arri bachrach
now let's not go too far:-)))) ..... we all get fooled once in a
while, even an "expoit" like you..
AB
Jim
NY Philharmonic. Eschenbach was the conductor; it was spectacular.
Perhaps he needs the discipline and challenge of collaboration...
Then I heard him play (solo) at Tower Records, one of those "perform
and sign" things, and I almost wondered if it were the same performer.
Fistfuls of wrong notes everywhere, a great deal of banging--it was as
if he hadn't bothered to rehearse, but was depending on charm to see
him through.
Right now, I think he's believing his own press releases a bit too
much. When he can bring consistency to bear on that talent of his, he
has the potential of being a great artist.
deac...@yahoo.com
I once was fooled into thinking that Koren had taste.
What a fool I was!
Back to Lang Lang.
Or Bang Bang.
Go and hear him and THEN tell me, Arri.
TD
On 10 Nov 2003 12:26:25 -0800, abac...@att.net (arri bachrach)
wrote:
deac...@yahoo.com
>Right now, I think he's believing his own press releases a bit too
>much. When he can bring consistency to bear on that talent of his, he
>has the potential of being a great artist.
"Great Artists" are usually revealed as such from the very beginning,
Jim, even if they do bang a little too much. Gilels is the prime
example. Richter another. Horowitz yet another. Lipatti. And so on
right down the line.
They never "became" artists, they were just born that way.
Lang Lang is a slob through and through.
Another wipe-out, I'm afraid, just when we can ill afford to have one.
TD
Terrymelin
Terry Ellsworth
Matthew B. Tepper
be typed in news:a70a36d7.03111...@posting.google.com:
The same thing could be said, at one time, of Arthur Rubinstein.
Eventually, Rubinstein himself realized it, and did something about it.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's Fault!
Clovis Lark
> I first heard Lang Lang play one of the Prokofiev concertos with the
> NY Philharmonic. Eschenbach was the conductor; it was spectacular.
> Perhaps he needs the discipline and challenge of collaboration...
Perhaps you mean "that" collaboration...
> uThen I heard him play (solo) at Tower Records, one of those "perform
deac...@yahoo.com
<oyþ@earthlink.net> wrote:
>jmelsn...@aol.com (Jim) appears to have caused the following letters to
>be typed in news:a70a36d7.03111...@posting.google.com:
>
>> I first heard Lang Lang play one of the Prokofiev concertos with the
>> NY Philharmonic. Eschenbach was the conductor; it was spectacular.
>> Perhaps he needs the discipline and challenge of collaboration...
>>
>> Then I heard him play (solo) at Tower Records, one of those "perform
>> and sign" things, and I almost wondered if it were the same performer.
>> Fistfuls of wrong notes everywhere, a great deal of banging--it was as
>> if he hadn't bothered to rehearse, but was depending on charm to see
>> him through.
>>
>> Right now, I think he's believing his own press releases a bit too
>> much. When he can bring consistency to bear on that talent of his, he
>> has the potential of being a great artist.
>
>The same thing could be said, at one time, of Arthur Rubinstein.
>Eventually, Rubinstein himself realized it, and did something about it.
As I said earlier.
You don't "become" an artist.
Rubinstein already was one. He just cleaned up the sloppiness in his
playing.
Lang Lang needs a heart transplant, a liver transplant, a kidney
transplant, a brain transplant.
In fact, just throw the whole thing out and start again.
Anyone for Naida Cole?
And she looks a hell of a lot better on stage.
TD
ajb723
> jmelsn...@aol.com (Jim) appears to have caused the following letters to
> be typed in news:a70a36d7.03111...@posting.google.com:
>
>> I first heard Lang Lang play one of the Prokofiev concertos with the
>> NY Philharmonic. Eschenbach was the conductor; it was spectacular.
>> Perhaps he needs the discipline and challenge of collaboration...
>>
>> Then I heard him play (solo) at Tower Records, one of those "perform
>> and sign" things, and I almost wondered if it were the same performer.
>> Fistfuls of wrong notes everywhere, a great deal of banging--it was as
>> if he hadn't bothered to rehearse, but was depending on charm to see
>> him through.
>>
>> Right now, I think he's believing his own press releases a bit too
>> much. When he can bring consistency to bear on that talent of his, he
>> has the potential of being a great artist.
>
> The same thing could be said, at one time, of Arthur Rubinstein.
> Eventually, Rubinstein himself realized it, and did something about it.
I find myself wondering if the NYTimes critic attended the same recital. For
the most part I thought his playing was both exciting and sensitive. There
certainly were no fistfuls of wrong notes (except for the Strauss Fledermaus
and Sousa encores but by then he was undoubtedly tired). The Wanderer was
terrific and the Liszt DonJuan Fantasy very impressive. My only quibbles
were with the Chopin Nocturne andLiszt Liebestraume encore which I found too
mechanical and rigid.
Alan
Stephen North
TD
I'm a fan of Cole and would love to hear more of her on disc, but here
in UK we still only have the Chabrier/Ravel disc.
Universal doesn't seem to know what to do with her - it was announced
here that she was a DG artist - but her French disc was on Decca!
Presumably teh presence of La Belle Helene thwarted Cole's elevation
to the Yellow label.
What's your take - and what do you make of the Lizst CD which I
understand is out, in Canada at least.
S
Matthew B. Leper
> More like, Tom Deacon, fool.
more like, Tom Deacon, fucking faggot asshole shithead gayboy who
takes it up the fucking ass.
deac...@yahoo.com
wrote:
>I'm a fan of Cole and would love to hear more of her on disc, but here
>in UK we still only have the Chabrier/Ravel disc.
>
>Universal doesn't seem to know what to do with her - it was announced
>here that she was a DG artist - but her French disc was on Decca!
>Presumably teh presence of La Belle Helene thwarted Cole's elevation
>to the Yellow label.
>
>What's your take - and what do you make of the Lizst CD which I
>understand is out, in Canada at least.
You are right. It is out in Canada. And she clearly outplays Yundi Li,
an exclusive DG artist, in the Liszt Sonata. It isn't even close!
A New York suit was appalled when this unknown pianist was "signed"
for a local Canadian project on the yellow label.
A British suit then agreed to release this first CD on Decca, clearly,
or at least it would appear, an inferior label which could welcome
such an unknown inferior pianist. There was a great deal of grinding
of teeth in all of this.
And then a second CD was made. It is very good, indeed.
I have no idea what its fate will be. Perhaps they will release it on
Accord in France, which is a local Universal label there. Or maybe
they will give it the kiss of death and put it on Philips, which the
two suits in question are determined to kill.
In any event, Cole deserves better treatment.
Maybe she should try Peter Gelb.
TD
Simon Smith
What's wrong with that?
--
Simon Smith "I am myself only in music. Music is enough
http://www.ingemisco.com for a whole lifetime - but a lifetime is not
enough for music." (Sergei Rachmaninov)
Terrymelin
>takes it up the fucking ass.
>
Not very nice. I don't know anything about that.
But there is no doubt that Tom Deacon is an anti-Semite and that's more than
enough in my book to disqualify him from having a valid opinion on anything.
Terry Ellsworth
Terrymelin
>transplant, a brain transplant.
>
>In fact, just throw the whole thing out and start again.
>
>Anyone for Naida Cole?
>
>And she looks a hell of a lot better on stage.
>
>TD
>
Gosh, if only he were an Israeli you'd have another reason to hate him.
Terry Ellsworth
Terrymelin
Carnegie Hall recital was seriously bizarre. He seemed not to be reviewing the
actual concert but just wanting to take this opportunity to slam and make snide
comments about a particular artist he clearly hates.
There was far too much venom and cruelty for it to be taken seriously. He could
have accomplished his task much better if he had approached the task seriously
instead of with such hatred.
He seems quite unbalanced on the subject of Lang Lang and wonder why that could
be?
Terry Ellsworth
deac...@yahoo.com
What a load of horseshit!
It is, in fact, people like YOU who are antisemites, as you hate
Arabs, and as Arabs are semites, you qualify. Wonderful, isn't it?
TD
deac...@yahoo.com
Since you weren't there, I think you really shouldn't comment on
whether or not he was "unbalanced". Moreover, as a rather "unbalanced"
individual yourself, you should have found his comments rather
familiar.
TD
deac...@yahoo.com
If he were a rabid Zionist like you, perhaps.
TD
Owen Hartnett
<deac...@yahoo.com> wrote:
>
> It is, in fact, people like YOU who are antisemites, as you hate
> Arabs, and as Arabs are semites, you qualify. Wonderful, isn't it?
OH NO!!! IT'S BACK!!!
ATTENTION CITIZENS OF R.M.C.R. - PLEASE EVACUATE THE CITY IMMEDIATELY.
GODZILLA HAS RETURNED.
-Owen
Steve Molino
news:284507bd.03111...@posting.google.com...
Now, that's not right. You are presenting a very unbalanced view of Tom,
what with concentrating on his best features.
David Hurwitz
>Mr. Tommasini not easily fooled; neither am I.
>
>TD
Particularly when it comes to your agreeing with a judgment of a concert or
performance that you did not even hear. Unfortunately for you, "not easily
fooled" is not the same thing as not being a fool.
For some reason there seems to be an indecent amount of desire on the part of
many here to want Lang Lang to fail, or to prove that he is simply the creation
of media "hype" because he has a major label contract and gets a lot of PR. He's
young and his career is just beginning, and I think to pass judgment on him now
is just a bit premature.
I think it wiser to take each performance as it comes, draw conclusions based on
the actual experience of listening, and wish the guy well. The problem with
Deacon's certitude is that I have no doubt that he will never listen to Lang
Lang again, and certainly never dream of revising his opinion even if
circumstances warrant and he plays magnificently, which based on what I have
actually heard he is certainly capable of doing.
I did not hear the concert, though one of my writers (Jed Distler) did see it
and wrote what I regard as a very fair review, which those who care can read at
their leisure if they feel so inclined. But I wasn't there so I do not judge; I
may be 'easily fooled', but I am not a fool.
Dave Hurwitz
Gerrie Collins
In honor of this little inaptly titled thread, I am submitting a word
puzzle, which was intended for the thread "Pianist David Bar-Illan
Dies". The first to uncover the imbedded message will be sent some
electronic 'high fives'.
"The only meaningful declamations expounded are cognizant of noble
instances surrounding a persona inimitable throughout its artistic
brilliance. Laudatory entries speak loudly of beneficence."
Gerrie C :-)
Terrymelin
>
>It is, in fact, people like YOU who are antisemites, as you hate
>Arabs, and as Arabs are semites, you qualify. Wonderful, isn't it?
>
>TD
That's what one would expect someone like you to say. I've never expressed one
word of hatred towards Arabs while your anti-Jewish and anti-Israeli posts here
are very well known.
Go back to your toilet bowl.
Terry Ellsworth
Terrymelin
>whether or not he was "unbalanced". Moreover, as a rather "unbalanced"
>individual yourself, you should have found his comments rather
>familiar.
>
>TD
How would you know whether I was there or not?
All one has to do is read his last sentence in his review to realize that he
had no intention of reviewing this concert in any serious way.
Terry Ellsworth
Terrymelin
>For some reason there seems to be an indecent amount of desire on the part of
>many here to want Lang Lang to fail, or to prove that he is simply the
>creation
>of media "hype" because he has a major label contract and gets a lot of PR.
>He's
>young and his career is just beginning, and I think to pass judgment on him
>now
>is just a bit premature.
I think that seeps through every single word and sentence of Mr. Tommassini's
review. It was a "hate letter" just like some reviewers write "love letters" to
some artists that are not deserved. Neither was this hate letter deserved.
Terry Ellsworth
Rodger Whitlock
> In message <284507bd.03111...@posting.google.com>
> niga...@yahoo.co.uk (Matthew B. Leper) wrote:
>
> > terry...@aol.com (Terrymelin) wrote in message
> > news:<20031110190759...@mb-m22.aol.com>...
> > > More like, Tom Deacon, fool.
> >
> > more like, Tom Deacon, fucking faggot asshole shithead gayboy who takes
> > it up the fucking ass.
>
> What's wrong with that?
Especially if you use plenty of lubricant.
--
Rodger Whitlock
Victoria, British Columbia, Canada
change "invalid" to "net" to respond
deac...@yahoo.com
It was, in fact, quite a mild rebuke. At least in comparison to the
one I would have given him after his appalling Beethoven 4 in Toronto.
A circus act. No more, no less.
But perhaps you should hear him and THEN judge.
After all, Hurwitz always does.
TD
David Hurwitz
Yes, he certainly has an axe to grind. The sad thing about it is (1) that he
didn't stay to the end--that is contemptuous and quite simply unprofessional.
Also, as my own writer pointed out in his review, at least one of the encores
(Liebestraum No. 3) was fabulous. But beyond that, (2) it's clear from the fact
that he wastes several paragraphs yelling at DG and decrying the media hype
before even getting to the musical facts (of which he selects rather few), that
he has no intention of giving a balanced assessment of the performances, but
rather has decided to blame the artist for the PR and attention that he is
getting and to let this color his perception of Lang Lang's actual playing.
It is a disgrace to accuse him of being "not serious" because of what others say
and do ABOUT him, especially as the review makes it rather clear that he IS a
serious artist, both in terms of the repertoire selection, and even in his
ability to play it (Tommassini's carping notwithstanding). This was not
criticism, it was autobiography, an unfortunate but frequent occurance these
days.
Dave Hurwitz
M. Bartnik
> http://www.nytimes.com/2003/11/10/arts/music/10LANG.html
Thanks for indicating that review. For myself, I find it rather well
written, and it perfectly reflects what I though upon hearing LL do
the same program (twice) here in Germany. I did like the
Abegg-variations a bit, although they were not really perfect Schumann
playing; and the Nocturne was indeed well done, at least to my ears.
The rest was - as most of the other things I heard of this pianist so
far - pretty awful. What most surprised me were the number of missed
notes and slurred playing. There clearly are many other pianists who
can do this much better, let alone playing more musically. Only
thinking of what Hamelin did with the Don-Juan-fantasy made me want to
forget LL instantly. And I do not even want to start commenting about
his performing histrionics.
It's quite sad that a label such as DG seem to regard this person as
the "pianist of the future", when there are so many other much more
talented young pianists around. I think it is a future I do not really
want to be part of. It also is an indication of who really runs the
music business at the majors - people who do not know zilch about
music, let alone play any instrument, but only know how to do good
marketing (and LL is really good at this, I have to admit). Even
though they don't want to admit it, I think it's contributing much to
the demise of the music industry lately.
M.B.
M. Bartnik
> > Anyone for Naida Cole?
> >
> > And she looks a hell of a lot better on stage.
> >
> > TD
>
> TD
>
> I'm a fan of Cole and would love to hear more of her on disc, but here
> in UK we still only have the Chabrier/Ravel disc.
>
> Universal doesn't seem to know what to do with her - it was announced
> here that she was a DG artist - but her French disc was on Decca!
> Presumably teh presence of La Belle Helene thwarted Cole's elevation
> to the Yellow label.
>
> What's your take - and what do you make of the Lizst CD which I
> understand is out, in Canada at least.
>
> S
I liked Cole's Ravel/Chabrier CD a lot; it was one of the highlights
of the Decca catalogue, even if it is available here in Europe only
with some difficulties. She played here in Europe on several
occasions, and got usually good reviews (couldn't hear her myself, and
she cancelled the only concert to which I had tickets).
The news that she's done another CD is really excellent, and I'll try
to get hold of it. Lately Decca seems to make some good decisions -
first signing Nelson Freire, now releasing another CD with Cole. There
still is hope, then.
M.B. (who wonders why there's no such initiative on the German side of
some major labels for talented German pianists of whom there are
several)
Mazzolata
>
> "The only meaningful declamations expounded are cognizant of noble
> instances surrounding a persona inimitable throughout its artistic
> brilliance. Laudatory entries speak loudly of beneficence."
Too easy. I wasn't even _initially_ fooled.
--
------------------------------------------------------------------
Got to get behind the mule
in the morning and plow
deac...@yahoo.com
wrote:
Correct, Marcel.
"Future of Classical Music" indeed! They wish!
Apparently others prepared to swallow such statements are also
cheering from the balcony.
Fine. Let them.
You are right to bring up the case of MAH.
Here is a fabulously gifted pianist, with a repertoire as large as any
in the whole business, working for a small independent label,
Hyperion, whereas this monster from the Orient comes crashing into the
music scene banging his way to the top. And Tommasini refuses to be
taken in by the hype. More power to him.
I, too, have listened to Lang Lang (rhymes with Bong Bong, you know?)
and come to my own conclusions.
They may not be Jed Distler's reactions, or Hurwitz's, although I
doubt he has even heard Lang Lang in person to be able to judge - such
is the state of self-annointed Internet criticism, I am afraid - but
they are not mine. Moreover neither Distler nor Hurwitz speaks for the
New York TImes, the journal of record in the United States. Tommasini
does speak for that prestigious newspaper. Personally, I am still
amazed that Gary Grafman would have allowed this kid to graduate from
Curtis? What is that place coming to, I wonder?
From a business standpoint Lang Lang is God's gift to DG. He will sell
well in the Orient, where there is lots of money. Think China. Think
of those billions of buyers who have never heard of Pollini but who
will recognize one of their own. A similar argument is made for Yundi
Li, another small talent in my opinion, although I can only judge from
his recordings so far, all from DG. Right now the powers that be at DG
must be looking for some reputable critic they can corral into giving
Lang Lang a decent review. Because they will need that in order to
justify the millions of dollars they will want to spend in order to
"market" Lang Lang to an unsuspecting public.
Sony is doing the same thing with Volodos, another dud. With mixed
results.
Fortunately the real talent, Evgeny Kissin, has a decent company to
work with, who release excellent CDs, and he continues to pack concert
halls wherever and whenever he chooses to play. DG DID have a run at
Kissin, but they dropped the ball, as they did with Martha, among
others. Sad, but true.
TD
deac...@yahoo.com
wrote:
>Gerrie Collins wrote:
>
>>
>> "The only meaningful declamations expounded are cognizant of noble
>> instances surrounding a persona inimitable throughout its artistic
>> brilliance. Laudatory entries speak loudly of beneficence."
>
>Too easy. I wasn't even _initially_ fooled.
One is never fooled, even initially, by our Floridian maiden.
TD
ajb723
I have seen Kissin play no less than 6 times- he has yet to make any kind of
musical statement as far as I can tell. I find his playing uninteresting
from beginning to end. I did attend the Lang Lang recital last week and like
some, I thought the NYTimes was unduly harsh. In fact the only pieces I
really didn't like were the Chopin Nocturne and Liebestraume. I thought the
Liszt was wonderful despite the altered ending. The Wanderer was sensitive
in the middle section and thoroughly exciting at the end. I guess that's
what makes horse racing!
--
Alan
EG
Why don't you come up with some new crap? We heard this one before.
Your pathetic posts lack any shade of imagination, creativity, wit or
humor.
(I don't want to mention substance, ideas, knowledge... these are way
out of your reach).
You don't even have talent for cursing. Crushing you gives as much
pleasure as squashing a mosquito.
deac...@yahoo.com
The Wanderer IS sensitive in the middle section, and exciting at the
end.
TD
deac...@yahoo.com
Crushing you gives as much pleasure as squashing a mosquito.
Like all fascists, you have a predilection for "crushing".
But you haven't crushed this "mosquito" yet, you chicken shit coward!
As you see.
So, go and cheer on your little fat-boy Sharon as he murders some more
dirty Arabs.
TD
Peter Lemken
> It's quite sad that a label such as DG seem to regard this person as
> the "pianist of the future", when there are so many other much more
> talented young pianists around. I think it is a future I do not really
> want to be part of. It also is an indication of who really runs the
> music business at the majors - people who do not know zilch about
> music, let alone play any instrument, but only know how to do good
> marketing (and LL is really good at this, I have to admit). Even
> though they don't want to admit it, I think it's contributing much to
> the demise of the music industry lately.
What would you expect? Concerts with soloists that are being invited upon
their merit as artist, not because of some promotional act by a record
company? Record companies that sign artists for their merit as artists and
not because of some established artist telling everyone that the new one is
as close to Horowitz, Rachmaninoff and Richter combined as you'll get?
Wake up!
Today nobody would sign Kempff or Backhaus; the Vanessa Maes and Bang Bangs
rule the classical world and it's getting worse every day.
Thank god I don't work in that industry anymore.
Peter Lemken
Berlin
--
Mail an die im From: angegebene Adresse stellt eine Beauftragung zur
Überprüfung der Mailfunktion des Absenders dar und wird mit einer
Bearbeitungsgebühr von EUR 1000,- in Rechnung gestellt.
Peter Lemken
> Fortunately the real talent, Evgeny Kissin, has a decent company to
> work with, who release excellent CDs, and he continues to pack concert
> halls wherever and whenever he chooses to play. DG DID have a run at
> Kissin, but they dropped the ball, as they did with Martha, among
> others. Sad, but true.
Kissin never had an exclusive record contract, in fact, in a recent
interview he stated that he refused to sign one offered to him. He prefers
to go project by project and seems just fine with that.
Kissin may have on and off days, but it is good to see that he has taken his
time to work on many aspects of his life as an artist and the results are
good enough for everyone to understand that Bang Bang and hordes of other
hyped artists play in a different league.
I actually like the slight hystery that seems to pervade any of his
performances, although it is debatable in many instances, but at least I can
see a clear thread of concept and development in his playing, something that
is so obviously nonexistant in most of today's DGG popstars.
I wonder, when we will see an unknown young girl of Asian origin being
hailed as the next Argerich by DGG. My estimate is that it will take
somewhere between 4 and 6 months.
Matthew燘. Tepper
following letters to be typed in
news:bosed7$1c1j60$2...@ID-31.news.uni-berlin.de:
> deac...@yahoo.com wrote:
>
>> Fortunately the real talent, Evgeny Kissin, has a decent company to
>> work with, who release excellent CDs, and he continues to pack concert
>> halls wherever and whenever he chooses to play. DG DID have a run at
>> Kissin, but they dropped the ball, as they did with Martha, among
>> others. Sad, but true.
>
> Kissin never had an exclusive record contract, in fact, in a recent
> interview he stated that he refused to sign one offered to him. He
> prefers to go project by project and seems just fine with that.
>
> Kissin may have on and off days, but it is good to see that he has taken
> his time to work on many aspects of his life as an artist and the
> results are good enough for everyone to understand that Bang Bang and
> hordes of other hyped artists play in a different league.
>
> I actually like the slight hystery that seems to pervade any of his
> performances, although it is debatable in many instances, but at least I
> can see a clear thread of concept and development in his playing,
> something that is so obviously nonexistant in most of today's DGG
> popstars.
>
> I wonder, when we will see an unknown young girl of Asian origin being
> hailed as the next Argerich by DGG. My estimate is that it will take
> somewhere between 4 and 6 months.
What is Naida Cole's ethnicity, or mix thereof?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
steve wolk
You still have no idea what you are talking about. How about if I identify
you as a Jew-hater? Feel better?
Richard Schultz
: Yes, he certainly has an axe to grind. The sad thing about it is (1) that he
: didn't stay to the end--that is contemptuous and quite simply unprofessional.
Have you ever heard of the quaint concept known among newspaper writers as
a "deadline"? Real concert reviewers frequently leave before the end
in order to be able to get the review in early enough so that it can
be printed in the next morning's paper. Many of them are more reticent
about it, but it's easy enough to tell when they don't mention the encores
(or the second half of the concert) in the review, or only mention the names
(as in telling a friend, "phone me from the concert hall and let me know
what the encores were").
: Also, as my own writer pointed out in his review, at least one of the encores
: (Liebestraum No. 3) was fabulous.
I thought you weren't at the concert. How would you know if it was "fabulous"
or not? Or are you using the term "fabulous" in the sense of "mythological"?
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
It's a bird, it's a plane -- no, it's Mozart. . .
ajb723
I seriously doubt that deadlines have any role here. Reviews of NY concerts
on Thurs and Fri evenings generally don't appear until Mon or Tues of the
following week.
--
Alan
Matthew燘. Tepper
following letters to be typed in news:bosgo0$n6v$2...@news.iucc.ac.il:
> Have you ever heard of the quaint concept known among newspaper writers
> as a "deadline"? Real concert reviewers frequently leave before the end
> in order to be able to get the review in early enough so that it can
> be printed in the next morning's paper. Many of them are more reticent
> about it, but it's easy enough to tell when they don't mention the
> encores (or the second half of the concert) in the review, or only
> mention the names (as in telling a friend, "phone me from the concert
> hall and let me know what the encores were").
I imagine Jayson Blair might have rationalized his writing methods in
pretty much this fashion, at least at first.
Spam Scone
> In article <tg82rvo3o8qc88m6n...@4ax.com>,
> <deac...@yahoo.com> wrote:
>
> >
> > It is, in fact, people like YOU who are antisemites, as you hate
> > Arabs, and as Arabs are semites, you qualify. Wonderful, isn't it?
>
>
>
> ATTENTION CITIZENS OF R.M.C.R. - PLEASE EVACUATE THE CITY IMMEDIATELY.
> GODZILLA HAS RETURNED.
>
> -Owen
A rule of thumb I have recently adopted for RMCR is that if there are
more than two Tom Deacon postings to a thread, it probably is not
worth reading.
EG
Pathetic... this is the best curse you can come up with?
Repeating my sentences? Nothing learnt since the kindergarten?
No college debate experience? Can you not escape the three-four
slogans you
have heard at the recent anarchist "protest"?
Truly pathetic. No class. I'll give you one more chance now. Strain
yourself, can you come up with something better? Something we haven't
heard from you yet? Something that has a grain of your own thought, no
matter how stupid that thought will be?
Stephen North
Let's not forget Decca have also signed up Kun Woo Paik - his Faure
disc is quite captivating (I'd also put in a plug for his Prokofiev
concerti on Naxos).
I'm still happy with DG: they have allowed Grimaud to spread her wings
- I just hope they don't take her back over old ground later - and
they seem to be re-engaging with Zimerman (hope they have captured his
latest recital programmes). Yundi Li has his moments - certainly in
Chopin.
Naida Cole's website hasn't been updated for some time so who knows
what she will be doing next.
BTW I checked MDT don't have the latest Cole CD.
S
deac...@yahoo.com
wrote:
Heard that before. Disagree.
But not surprised, Steve. It is a standard reply from those unwilling
to question the status quo.
Jew-Hater? I think not. I just helped elect a Jew to be mayor of
Kingston. He'll do a marvelous job, I am convinced.
TD
deac...@yahoo.com
wrote:
>M. Bartnik <Marcel_...@gmx.de> wrote:
>
>> It's quite sad that a label such as DG seem to regard this person as
>> the "pianist of the future", when there are so many other much more
>> talented young pianists around. I think it is a future I do not really
>> want to be part of. It also is an indication of who really runs the
>> music business at the majors - people who do not know zilch about
>> music, let alone play any instrument, but only know how to do good
>> marketing (and LL is really good at this, I have to admit). Even
>> though they don't want to admit it, I think it's contributing much to
>> the demise of the music industry lately.
>
>What would you expect? Concerts with soloists that are being invited upon
>their merit as artist, not because of some promotional act by a record
>company? Record companies that sign artists for their merit as artists and
>not because of some established artist telling everyone that the new one is
>as close to Horowitz, Rachmaninoff and Richter combined as you'll get?
>
>Wake up!
>
>Today nobody would sign Kempff or Backhaus; the Vanessa Maes and Bang Bangs
>rule the classical world and it's getting worse every day.
>
>Thank god I don't work in that industry anymore.
You use the right word, Peter: industry.
Strange that some still think of it as "art"!
You are right about Kempff and Backhaus: no charisma, no looks.
TD
deac...@yahoo.com
wrote:
Your post shows the extent to which companies give the wrong
impression to the public.
Kun Woo Paik only has a "per disc" contract, and only in order to sell
CDs in Korea. The Western releases are pro forma.
Grimaud is there for her sexy looks and the wolves. There are rafts of
pianists who play as well or better.
Zimerman? His Rachmaninoff CD was recorded years ago and he has
refused to allow it out, until now, and maybe not even. Let's see when
it hits the market.
Yundi Li. The Paik story, but replace Korea with China.
Cole? The last I heard it was finito! Just gossip, mind you, but the
lack of a UK release speaks volumes.
TD
deac...@yahoo.com
wrote:
>deac...@yahoo.com wrote:
>
>> Fortunately the real talent, Evgeny Kissin, has a decent company to
>> work with, who release excellent CDs, and he continues to pack concert
>> halls wherever and whenever he chooses to play. DG DID have a run at
>> Kissin, but they dropped the ball, as they did with Martha, among
>> others. Sad, but true.
>
>Kissin never had an exclusive record contract, in fact, in a recent
>interview he stated that he refused to sign one offered to him. He prefers
>to go project by project and seems just fine with that.
The RCA Victor relationship is not a contract, just an ongoing deal.
>
>Kissin may have on and off days, but it is good to see that he has taken his
>time to work on many aspects of his life as an artist and the results are
>good enough for everyone to understand that Bang Bang and hordes of other
>hyped artists play in a different league.
>I actually like the slight hystery that seems to pervade any of his
>performances, although it is debatable in many instances, but at least I can
>see a clear thread of concept and development in his playing, something that
>is so obviously nonexistant in most of today's DGG popstars.
Right. Fascinating to follow his progress from child prodigy to mature
artist. His latest Brahms F minor was a BIG step forward for Kissin,
in my opinion.
>I wonder, when we will see an unknown young girl of Asian origin being
>hailed as the next Argerich by DGG. My estimate is that it will take
>somewhere between 4 and 6 months.
This time it will HAVE to be a Japanese, as the market there is in the
toilet. They need a local sex symbol to give a lift to DG locally.
But then, so does Germany. Strange they haven't discovered Ragna
Schirmer.
TD
Alan Cooper
>hailed as the next Argerich by DGG. My estimate is that it will take
>somewhere between 4 and 6 months.
How about Jung-Ja Kim? Have you heard her Rachmaninov Preludes? Or
is she too good to be acceptable for "stardom"?
AC
deac...@yahoo.com
wrote:
What are her measurements?
TD
Terrymelin
>
>But perhaps you should hear him and THEN judge.
>
>After all, Hurwitz always does.
>
>TD
I've heard Lang Lang play at least four or five times per year for the past 5
years. I think that is more than enough to judge his playing.
Reviews shouldn't be "rebukes" at all ... but I guess you really don't
understand the point of musical criticism.
Terry Ellsworth
Terrymelin
>Yes, he certainly has an axe to grind. The sad thing about it is (1) that he
>didn't stay to the end--that is contemptuous and quite simply unprofessional.
Yes, that was my point about the last sentence in his review. It was clear from
that that he had no intention of reviewing the concert seriously. He just
wanted to puncture some balloon that he doesn't approve of.
Ben Brantley, the drama critic, does it all the time ... but I expected
somewhat more from Mr. Tomassini.
>(2) it's clear from the fact
>that he wastes several paragraphs yelling at DG and decrying the media hype
>before even getting to the musical facts (of which he selects rather few),
>that
Well, exactly. And I always deplore when a critic attempts to tell us what is
in the artist's head or thoughts. That's a joke. He does that a lot in that
review.
Terry Ellsworth
Terrymelin
>a "deadline"? Real concert reviewers frequently leave before the end
>in order to be able to get the review in early enough so that it
Yes, but that doesn't apply in this case. Read the last line of his review. He
makes it clear that he didn't want to stay not that he had a deadline.
It was unprofessional, snide, and a good editor would have clipped it out but
perhaps the editor wanted to show what an ass the critic was being.
Terry Ellsworth
Terrymelin
>dirty Arabs.
>
>TD
What, exactly, is a "little fat boy?" Is this something known only to you or is
something that reflects what you see in your mirror?
Terry Ellsworth
Terrymelin
>you as a Jew-hater? Feel better?
>
>
That would probably make Deacon feel much better. But why make his day? It's
much more fun to watch him sputter around everytime someone uses the phrase
"anti-Semite."
Terry Ellsworth
Terrymelin
>Kingston. He'll do a marvelous job, I am convinced.
>
>TD
Next you will start telling us that "some of your best friends are Jewish."
Did you get that line from your friend Goering?
Terry Ellsworth
Alan Cooper
Hard to tell from the cover photo, but here's her bio from the Boston
Conservatory web site (she is on the piano faculty there):
Jung-Ja Kim (Piano) Korean-born pianist Jung-Ja Kim has won critical
acclaim in the United States, Europe, and the Far East for her
pianistic brilliance and insight. The New York Times described her
debut as “[b]rilliant playing, a vibrant, compelling performance,” and
others have more recently described her playing as “arresting,”
“beautifully poetic,” “a virtuosity of imagination,” and “musical
advocacy of a high order” (The Boston Globe). A graduate of the
Juilliard School, Ms. Kim made her New York debut at Carnegie Recital
Hall as a winner of the Young Concert Artists International Auditions
and was winner of the Kosciuszko Chopin Competition. As a recipient of
a Martha Baird Rockefeller Grant, she toured in France, Switzerland,
England, Holland, Finland, and Germany. In the United States, Ms. Kim
has appeared at American venues including Carnegie Hall, Alice Tully
Hall, the Metropolitan Museum of Art, the Phillips Gallery, Jordan
Hall, the Isabella Stewart Gardner Museum, and Merkin Hall. Orchestral
engagements have included the New York Philharmonic, the Baltimore
Symphony, St. Louis Chamber Orchestra, the Seoul Philharmonic, and the
Czech National Symphony. She has released three compact discs,
featuring solo piano works by Ravel (SEM Gramophone, 1993), the Chopin
piano concerti (Carlton, 1998) and the complete Rachmaninoff Preludes
(Kleos Classics, 2001).
I have the Rachmaninov disc, and think it is excellent.
AC
deac...@yahoo.com
I know lots of critics who never stay for the "encores", only for the
printed programme. If the artist cannot say what he or she wanted to
say there, then no encore will do it. There is nothing unprofessional
or snide in that posture.
I, too, often leave before the encores, if I can manage too, that is.
They are usually just blatant crowd-pleasers and circus tricks. With
Lang Lang the whole thing is a circus trick.
TD
deac...@yahoo.com
wrote:
Always interested in hearing about talented young pianists.
I must say I have not come across her recordings. Perhaps they are
only sold abroad?
TD
deac...@yahoo.com
It might be the same as you saying "some of my best friends are
Arabs"!
What a joke you are.
Thing is, you don't even know it.
Dumb git on top of it all.
TD
Terrymelin
>They are usually just blatant crowd-pleasers and circus tricks. With
>Lang Lang the whole thing is a circus trick.
>
>TD
>
Well, I'm sure you would know all about circus acts. You been trying to fit
those nine men into that little car around here for far longer than we want to
think about.
Terry Ellsworth
Terrymelin
>I know lots of critics who never stay for the "encores", only for the
>printed programme. If the artist cannot say what he or she wanted to
>say there, then no encore will do it. There is nothing unprofessional
>or snide in that posture.
Obviously you didn't even read the review or you wouldn't have made the above
patently absurd statement.
Terry Ellsworth
Stephen North
Thanks for the summary:
I have enjoyed a great deal of what I've heard of Grimaud - though it
has been largely on CD. On 9/11 at the Proms she did a fine LVB PC4
with Eschenbach under what may have been trying circumstances. Yes of
course there are pianists who play better - there always are - but I
can assure you it is neither her looks or the wolves that capture my
interest. And if DG were only interested in sexy looks then Cole would
be knocking Pollini off his perch!
As for Zimerman one can only hope the rumoured Brahms PC 1 with Rattle
is the start of something akin to a re-emergence: as far as I'm
concerned he couldn't have picked a worse partner, but we can't have
everything.
As for Paik and Li - well I'm not going to complain if record
companies record artists to sell CDs - wherever their target markets
happen to be - as long as I can have access to them.
Which brings us back to Cole - sad news if this is the end. Hope she
finds a label who do her justice.
S
Emrla
>From: terry...@aol.com (Terrymelin)
>Date: 11/12/2003 10:41 AM Pacific Standard Time
>Message-id: <20031112134130...@mb-m22.aol.com>
EMR
Alan Cooper
>
>Always interested in hearing about talented young pianists.
>
>I must say I have not come across her recordings. Perhaps they are
>only sold abroad?
You can get the Rachmaninov disc from Berkshire:
Rachmaninov, Preludes Opp.23 {#'s 1-10} & 32 {#'s 1-13}. (Jung-Ja Kim,
piano. Total time: 74'42')
Add to cart | Price: $ 5.99 | Country: AMERICA | D/A code: D | Code:
KL 5115 | BRO Code: 117016 | Label: KLEOS CLASSICS
I don't think the other two CDs mentioned in the bio are available
anywhere.
AC
deac...@yahoo.com
I read the review, you boob!
What I also read was your "critique" of it.
PA-THE-TIC!
TD
deac...@yahoo.com
Sorry, I don't drive a Beetle.
Mine's a MB and it will hold more than nine.
TD
deac...@yahoo.com
Slightly different.
Rubinstein was a pianistic genius.
TD
deac...@yahoo.com
wrote:
>I have enjoyed a great deal of what I've heard of Grimaud - though it
>has been largely on CD. On 9/11 at the Proms she did a fine LVB PC4
>with Eschenbach under what may have been trying circumstances. Yes of
>course there are pianists who play better - there always are - but I
>can assure you it is neither her looks or the wolves that capture my
>interest. And if DG were only interested in sexy looks then Cole would
>be knocking Pollini off his perch!
The difference is: they didn't discover her! Ego, you know. Plays a
part in everything in this business.
>As for Zimerman one can only hope the rumoured Brahms PC 1 with Rattle
>is the start of something akin to a re-emergence: as far as I'm
>concerned he couldn't have picked a worse partner, but we can't have
>everything.
Zimerman can only be counted on to make wonderful recordings and then
not allow them to be released.
>As for Paik and Li - well I'm not going to complain if record
>companies record artists to sell CDs - wherever their target markets
>happen to be - as long as I can have access to them.
Fine, as long as they don't squeeze out others who really deserve our
attention.
>Which brings us back to Cole - sad news if this is the end. Hope she
>finds a label who do her justice.
Gossip is just that, you know. It may be true, it may be false.
Perhaps if someone from either DG or Decca actually went and heard her
it would help, of course.
TD
>S
Terrymelin
>
>Mine's a MB and it will hold more than nine.
>
>TD
I didn't think you'd get it. A little thick, aren't you?
Terry Ellsworth
Jeffrey Friedman
>
>I find myself wondering if the NYTimes critic attended the same recital. For
>the most part I thought his playing was both exciting and sensitive. There
>certainly were no fistfuls of wrong notes (except for the Strauss Fledermaus
>and Sousa encores but by then he was undoubtedly tired). The Wanderer was
>terrific and the Liszt DonJuan Fantasy very impressive. My only quibbles
>were with the Chopin Nocturne andLiszt Liebestraume encore which I found too
>mechanical and rigid.
>
>Alan
I was there and find myself in your camp. Lang Lang does seem to
divide audiences. Several of my piano friends seemed to agree with
Tomassini, I did not, nor did most of the audience. And these were
not Three Tenors Concert fans, the fellow on my right who was
totally gripped by the performance was a Juilliard graduate, a friend
of ours who plays lots of Schubert loved the Wanderer (that was my
favorite too). The thing is, I understand the criticism. His playing
remains raw and at times vulgar, but that is the flip side of the
enormous vitality he brings to the music. He is singing all the
notes, with his body too (and those who are offended by this
would probably have hated Franz Liszt, I saw a series of caricatures
of Liszt from the mid 19th C. that look remarkably like Lang Lang
at the piano).
I am interested that a few of the anti-Lang Lang posters seem to
be high on Naida Cole. I have heard her several times, and while
she is a fine pianist I find her playing dull. When she tries to put
that kind of energy into a piece it just sound too fast or too loud
to me, it is missing the inate musicality of Lang Lang.
But as one friend (not a Lang Lang admirer) says, that's what
makes music so interesting and great, we all hear things in
unpredictably different ways. Only fools try to pose as possessors
of the ultimate refined taste.
Jeff
Bob Lombard
wrote:
>
>But as one friend (not a Lang Lang admirer) says, that's what
>makes music so interesting and great, we all hear things in
>unpredictably different ways. Only fools try to pose as possessors
>of the ultimate refined taste.
>
>Jeff
What makes rmcr what it is - not counting the OTs - is that some of
those fools post here.
(Calm down Ray, I ain't referring to you.)
bl ( it takes one to know one)
deac...@yahoo.com
wrote:
>On Tue, 11 Nov 2003 02:00:57 GMT, ajb723 <ajb...@optonline.net> wrote:
Does that make Koren a fool?
TD
Edward Brisboy
> http://www.nytimes.com/2003/11/10/arts/music/10LANG.html
In light of the interest this seems to have generated, perhaps some
will want to read the following review by Richard Dyer of the Boston
concert, which took place the day after Lang's Carnegie appearance. It
was forwarded by a friend who attended the Boston concert and was
underwhelmed. FWIW.
Ed
By Richard Dyer, Globe Staff, 11/10/2003
Lang Lang, piano
Presented by FleetBoston
Celebrity Series
At: Jordan Hall, Saturday night
Lang Lang had the audience on his side even before he began to play
his Boston debut recital Saturday night; the Chinese pianist exudes
charisma, and his grin could disarm anyone. At 21, Lang is already one
of today's supreme keyboard athletes, with superb fingers and fabulous
coordination between hands and feet. There seems to be no keyboard
challenge that he cannot mow down with apparent ease and evident
pleasure. When he really gets going, he seems to be shaking those
cascades of notes out of his whole body; he's a one-man fireworks
display.
And his stamina seems inexhaustible -- he played the same long and
demanding program the night before in Carnegie Hall, an event that was
recorded live and captured on video for future release; after the
delirious audience left, he remained to adjust a few details for the
microphone. Here in Boston he wouldn't have needed to patch much, and
about the only concession he made to fatigue was to drop "The Stars
and Stripes Forever" from his list of encores.
All that said, Lang's musical culture is not yet as fully developed as
his pianistic chops. Schumann's "Abegg" Variations were almost
incoherent in their schizophrenic shuttling between strong, loud
playing and a coreless and pallid pianissimo excessively dependent on
the soft pedal. Passages in a Haydn sonata were so unstable in rhythm
and tempo one wanted to pass the hat to buy the pianist a metronome.
It was exhilarating to hear Schubert's "Wanderer" Fantasy played
without technical compromise, but the piece was always hurtling
forward, without taking time to breathe; Lang lives in the moment
rather than building structures.
The music after intermission told another story. Lang returned in a
crimson Chinese tunic to play Tan Dun's Op. 1, "Eight Memories in
Watercolor," brief pieces mingling Chinese folk song, French
Impressionist harmonies, and swinging Gershwinesque rhythm; the first
of them, "Missing Moon," was particularly appropriate on a night the
moon went missing. Lang played with magically shimmering colors. A
Chopin nocturne that followed was hypnotic.
Lang's virtuosity in Liszt's "Don Juan" Fantasy was staggering,
although the profundity of Liszt's choice
to mingle music of seduction, divine retribution, and defiance eluded
the pianist. In the seduction duet, one heard no sense of two voices
and what they were saying; Zerlina cried, "I have no further
strength," while Lang supplied a furious crescendo. There were three
encores. First, a mannered and imperfectly controlled Schumann
"Traumerei"; then a delightful duet, "Duelling Horses" with the
Chinese fiddle, the er-hu, played by his father, Guo-ren Lang; and
finally, an utterly dazzling whirl through the waltz world of
Strauss's "Die Fledermaus."
Deutsche Grammophon is advertising Lang as "the future of classical
music," a description that probably does not delight the label's other
artists, including the poetic young Chinese pianist, Yundi Li, slated
to make his Jordan Hall debut April 10.
But the future of Lang is exciting to contemplate, and there is always
room for another popular standard bearer to deliver music's message to
those who haven't yet heard it.
© Copyright 2003 Globe Newspaper Company.
© Copyright 2003 The New York Times Company
Dan Koren
news:8efd28b0.03111...@posting.google.com...
Yet another proof -- if proof were needed! -- that
reputations and careers in the music business are
largely fabricated by the media. Sure, there are
in every generation a handful of towering artists
whose artistry is so great that nothing the press
can print would affect their careers -- Richter,
Van Cliburn, Martha Argerich, etc... However, the
vast majority of so-called "great artists" are no
more than fabrications of the media.
dk
Matthew燘. Tepper
following letters to be typed in
news:8efd28b0.03111...@posting.google.com:
> In light of the interest this seems to have generated, perhaps some
> will want to read the following review by Richard Dyer of the Boston
> concert, which took place the day after Lang's Carnegie appearance. It
> was forwarded by a friend who attended the Boston concert and was
> underwhelmed. FWIW.
Dyer's endorsement of certain krossover krap "stars" makes me wonder.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
LaVirtuosa
> there are
> in every generation a handful of towering artists
> whose artistry is so great that nothing the press
> can print would affect their careers -- Richter,
> Van Cliburn, Martha Argerich, etc... However, the
> vast majority of so-called "great artists" are no
> more than fabrications of the media.
>
>
>
> dk
That is a contradiction.
You don't think that press coverage had any effect on Van Cliburn's career?
************Val
Dan Koren
news:fb0dfc23.03111...@posting.google.com...
The press coverage did not
make Van Cliburn's career
any bigger than it would
have been otherwise. That
was my point. Van Cliburn
is no Brendull.
dk
Peter Lemken
Career? What career?
Compared to other artist he played very few concerts, made a relatively
small number of recordings, never played with the big name conductors on a
regular basis and in Europe he was hardly known.
However, and that is not a question of press coverage, he won the hearts of
the Moscow audience, no mean feat considering the pianistic environment in
Moscow.
Peter Lemken
Berlin
--
Mail an die im From: angegebene Adresse stellt eine Beauftragung zur
Überprüfung der Mailfunktion des Absenders dar und wird mit einer
Bearbeitungsgebühr von EUR 1000,- in Rechnung gestellt.
deac...@yahoo.com
wrote:
UTTER CRAP!
If the Time reporter had not filed the story, Cliburn would not be the
star he is today.
You think a tickertape parade just materialized out of nowhere?
Think again.
Sol Hurok was a master marketer.
Val is right. The Press MADE Cliburn's career. He did the playing and
they did the pumping.
TD
deac...@yahoo.com
wrote:
In Europe he was hardly known.
Cliburn was very well known in Europe. Perhaps you are too young to
have known just how successful he was.
However, Cliburn always favoured the US and Canada in his touring, and
Russia, of course. He is a real home-body.
His fame has also spread through the competition which bears his name.
Radu Lupu won the Cliburn in the 1960s and his career started from
that moment.
>However, and that is not a question of press coverage, he won the hearts of
>the Moscow audience, no mean feat considering the pianistic environment in
>Moscow.
Including Gilels, Richter et al., who were dazzled by his ability to
convey the essence of Russian music better than the Russians did.
For that you can thank his training with Rosinna Lhevinne, a Russian
emigre to the US, and his mother, who was responsible for his early
training as a pianist.
Mazzolata
> edbr...@operamail.com (Edward Brisboy) appears to have caused the
> following letters to be typed in
> news:8efd28b0.03111...@posting.google.com:
>
>
>>In light of the interest this seems to have generated, perhaps some
>>will want to read the following review by Richard Dyer of the Boston
>>concert, which took place the day after Lang's Carnegie appearance. It
>>was forwarded by a friend who attended the Boston concert and was
>>underwhelmed. FWIW.
>
>
> Dyer's endorsement of certain krossover krap "stars" makes me wonder.
>
Your knee-jerk reaction that all crossover music most automatically be
crapmakes me wonder if you actually listen to music at all.
--
------------------------------------------------------------------
Got to get behind the mule
in the morning and plow
Peter Lemken
> On 14 Nov 2003 07:44:00 GMT, spam.f...@buerotiger.de (Peter Lemken)
> wrote:
> In Europe he was hardly known.
>
> Cliburn was very well known in Europe. Perhaps you are too young to
> have known just how successful he was.
Just curious:
When did he appear with the Berlin Philharmonic, the Vienna Philharmonic,
the Amsterdam Concertgebouw, the Czech Philharmonic etc.?
deac...@yahoo.com
wrote:
>Matthew B. Tepper wrote:
>> edbr...@operamail.com (Edward Brisboy) appears to have caused the
>> following letters to be typed in
>> news:8efd28b0.03111...@posting.google.com:
>>
>>
>>>In light of the interest this seems to have generated, perhaps some
>>>will want to read the following review by Richard Dyer of the Boston
>>>concert, which took place the day after Lang's Carnegie appearance. It
>>>was forwarded by a friend who attended the Boston concert and was
>>>underwhelmed. FWIW.
>>
>>
>> Dyer's endorsement of certain krossover krap "stars" makes me wonder.
>>
>
>Your knee-jerk reaction that all crossover music most automatically be
>crapmakes me wonder if you actually listen to music at all.
If you listen to that crap too long it addles the mind.
In fact, they should put a warning sticker on the product.
THIS PRODUCT MAY PRODUCE BRAIN MELTDOWN!
DO NOT PUT IN THE HANDS OF CHILDREN!
TD
Mazzolata
>>Your knee-jerk reaction that all crossover music most automatically be
>>crapmakes me wonder if you actually listen to music at all.
>
>
> If you listen to that crap too long it addles the mind.
>
> In fact, they should put a warning sticker on the product.
>
> THIS PRODUCT MAY PRODUCE BRAIN MELTDOWN!
>
> DO NOT PUT IN THE HANDS OF CHILDREN!
Yes, keep things in the boxes that they belong in. Don't allow
miscegenation, it will ruin the world.
deac...@yahoo.com
wrote:
>deac...@yahoo.com wrote:
>> On 14 Nov 2003 07:44:00 GMT, spam.f...@buerotiger.de (Peter Lemken)
>> wrote:
>> In Europe he was hardly known.
>>
>> Cliburn was very well known in Europe. Perhaps you are too young to
>> have known just how successful he was.
>
>Just curious:
>
>When did he appear with the Berlin Philharmonic, the Vienna Philharmonic,
>the Amsterdam Concertgebouw, the Czech Philharmonic etc.?
Just curious:
Does it take appearances with the BPO, the VPO, the ACO, and the Czech
Philharmonic (!!!) to be "successful"?
TD
deac...@yahoo.com
wrote:
>deac...@yahoo.com wrote:
>
>>>Your knee-jerk reaction that all crossover music most automatically be
>>>crapmakes me wonder if you actually listen to music at all.
>>
>>
>> If you listen to that crap too long it addles the mind.
>>
>> In fact, they should put a warning sticker on the product.
>>
>> THIS PRODUCT MAY PRODUCE BRAIN MELTDOWN!
>>
>> DO NOT PUT IN THE HANDS OF CHILDREN!
>
>Yes, keep things in the boxes that they belong in. Don't allow
>miscegenation, it will ruin the world.
We can see how the Europeans have reacted the genetically modified
grain.
Hitler's doctors were at work on similar experiments with children, of
course, and the world, quite rightly, was horrified.
Perhaps you will allow us to be horrified at the crosspolination of Yo
Yo Ma and Brazilian street music. Or do you think Hitler was onto
something?
TD
Peter Lemken
> Just curious:
>
> Does it take appearances with the BPO, the VPO, the ACO, and the Czech
> Philharmonic (!!!) to be "successful"?
In Europe? Yes.
deac...@yahoo.com
wrote:
>deac...@yahoo.com wrote:
>
>> Just curious:
>>
>> Does it take appearances with the BPO, the VPO, the ACO, and the Czech
>> Philharmonic (!!!) to be "successful"?
>
>In Europe? Yes.
My, my.
Does that mean that Wibi Soerjadi is a "great pianist". And Mark
Zeltser?
What arrogant tripe!
TD
Matthew燘. Tepper
letters to be typed in news:3FB4D7E...@hotmail.com:
> Matthew B. Tepper wrote:
>> edbr...@operamail.com (Edward Brisboy) appears to have caused the
>> following letters to be typed in
>> news:8efd28b0.03111...@posting.google.com:
>>
>>
>>>In light of the interest this seems to have generated, perhaps some
>>>will want to read the following review by Richard Dyer of the Boston
>>>concert, which took place the day after Lang's Carnegie appearance. It
>>>was forwarded by a friend who attended the Boston concert and was
>>>underwhelmed. FWIW.
>>
>>
>> Dyer's endorsement of certain krossover krap "stars" makes me wonder.
>>
>
> Your knee-jerk reaction that all crossover music most automatically be
> crapmakes me wonder if you actually listen to music at all.
PLONK
Peter Lemken
Huh? When did Soerjadi play with the BPO? And will he ever be invited
again?
> What arrogant tripe!
Others call me a realist.
Mazzolata
What the fuck are you talking about ? You're the one saying it's all
crap. Personally I think Yo Yo Ma should do whatever the hell he wants.
It may not be classical music any more, but guess what - there are
other kinds of music that are good.
deac...@yahoo.com
wrote:
>> Does that mean that Wibi Soerjadi is a "great pianist". And Mark
>> Zeltser?
>
>Huh? When did Soerjadi play with the BPO?
Unfortunately you included the ACO in your "list" of orchestras upon
whom success depended for an artist.
Zeltser appeared with the BPO.
"Great pianist", you say. Indeed.
TD