Hamelin's Iberia
malcolm
about it and said that it was even better than Alicia's, something that
I find very hard to believe (especially her 1st recording on EMI).
But I suppose that it was a matter of time before someone surpassed
even her impossibly high performance standard for this incredibly
difficult music.
-M
Tom Deacon
On 5/20/05 11:08 AM, in article
1116601724.6...@o13g2000cwo.googlegroups.com, "malcolm"
<msal...@aol.com> wrote:
> Has anyone heard it yet?\
Yes, in recital, live in Toronto.
> Bryce Morrison of Gramaphone Magazine raved
> about it and said that it was even better than Alicia's, something that
> I find very hard to believe (especially her 1st recording on EMI).
I wonder how often it has to be said that there are FOUR complete Iberias
from Alicia de Larrocha. The EMI recording - a Hispavox recording - was NOT
the first. There is an earlier mono only Hispavox which was released on a
two LP set on Columbia Records.
> But I suppose that it was a matter of time before someone surpassed
> even her impossibly high performance standard for this incredibly
> difficult music.
Don't believe everything you read, even from BM. Trust your own gut.
TD
sidoze
amazing. Surprisingly, it's very colourful I think, and he captures the
languid side of the music very well indeed. However it doesn't quite
have the natural rhythm and spring of Larrocha, and that for many
people will end it there. It's sort of like a studied, learned
performance in a way, and doesn't always have the natural feel that
you'd want here (a good comparison might be with natural/studied Chopin
mazurkas). I also heard Hamelin play it live in London a while back,
and can say that I'm more impressed with the CDs than I was at the time
in the recital. I haven't heard Sanchez yet so please take my comments
in relation to that :)
Bob Lombard
"sidoze" <sid...@gmail.com> wrote in message
news:1116603712....@o13g2000cwo.googlegroups.com...
both of them, but Hamelin has that mechanism. There is no reason to consider
the EMI Larrocha inferior to Sanchez; she just has a different take. Less
heat, thirst and blood. A gentlewoman's view maybe, but the same scenes are
there beyond the veil. Actually, hearing Sanchez has increased my
appreciation of Larrocha; now I know what her allusions are to.
bl
Tom Deacon
On 5/20/05 12:55 PM, in article 428e16b1$1...@spool9-east.superfeed.net, "Bob
Lombard" <thorste...@vermontel.net> wrote:
Really?
Did she somehow make a shadowy allusion to the out-of-tune piano? Or to the
padded cell acoustics? Or, perhaps, to the thousands of indications in the
score Mr. Sanchez chose to ignore or was incapable of realizing?
Tut, tut, Alicia. You shouldn't be so mean to your poor compatriot. He
couldn't help himself, you know, poor benighted beast that he was.
TD
Dan Koren
news:1116601724.6...@o13g2000cwo.googlegroups.com...
I have not heard the CD, however I did hear him
perform it in recital 3 weeks ago in San Fran.
It was very disappointing. For a moment I thought
about posting a review on r.m.c.r, but I did not
have the patience to write about a concert I did
not like.
In any case, lest anyone should worry about ADL's
standing, MAH does not even come close. Since the
concert I have been washing my ears every day by
listening to ADL and a few other Iberias.
dk
Dan Koren
Perhaps the CD was recorded by a different person.
The performance he gave in San Fran 3 weeks ago
was rushed, unidiomatic, almost unarticulated,
colorless and drab. He made every piece sound
pretty much the same, and all of them sound a
lot more like virtuoso etudes than like music.
There you are: the Albeniz Etudes.
dk
Dan Koren
"Tom Deacon" <non...@yahoo.com> wrote in message
news:BEB40C7A.2C5C%non...@yahoo.com...
Not only is Bob smarter than you are.
He has better taste and hearing too.
dk
Dan Koren
news:MPG.1cf876868...@news.sf.sbcglobal.net...
>
> And whatever Hamelin's virtues, subtle
> rhythmic inflection is not high on the
> list
In other words, he should not play Iberia!
dk
Raymond Hall
>> sid...@gmail.com says...
> among the current crop of pianists, I think).
And that, virtually rules him out then? Another full priced over-hyped flop.
Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
greatness of this piano music. Larrocha, to her credit, makes me aware of
how good a pianist she is.
Ray H
Taree
Tom Deacon
On 5/21/05 2:25 AM, in article 428ed471$1...@news.meer.net, "Dan Koren"
<dank...@yahoo.com> wrote:
An exaggerated response, Koren.
His approach is very much in line with his approach to most music. One might
call it "Apollonian", for lack of a better term.
I have heard him in the Dionysius mode in Paris recently playing the Alkan
Symphony to a faretheewell. Really stunning.
TD
Tom Deacon
On 5/21/05 2:29 AM, in article 428ed571$1...@news.meer.net, "Dan Koren"
<dank...@yahoo.com> wrote:
This remains to be proven.
> He has better taste and hearing too.
This also remains to be proven.
TD
alanwa...@aol.com
> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of
the
> greatness of this piano music. Larrocha, to her credit, makes me
aware of
> how good a pianist she is.
>
> Ray H
> Taree
There appears to be a lot of controversy over Mr Sanchez and the Iberia
recording but has anyone heard his Faure recital (Ensayo, I think) and,
if so, is that similarly controversial?
Kind regards,
Alan M. Watkins
Tom Deacon
On 5/21/05 4:57 AM, in article
kKCje.10224$E7.1...@news-server.bigpond.net.au, "Raymond Hall"
<rayt...@bigpond.com> wrote:
ARGH!!!
There is simply no arguing with such statements.
TD
Tom Deacon
On 5/21/05 7:02 AM, in article
1116673374.0...@f14g2000cwb.googlegroups.com,
"alanwa...@aol.com" <alanwa...@aol.com> wrote:
Not controversial, but not really very good either.
Faure takes a great deal more tact and taste than Sanchez could ever
deliver.
Collard is very, very fine, and not expensive. Kempff's one foray into Faure
puts him in a league of his own.
TD
abac...@att.net
Sanchez also "played" Iberia with less subtlety than a Mack truck.
AB
Dan Koren
"Tom Deacon" <non...@yahoo.com> wrote in message
news:BEB48AC6.2CAB%non...@yahoo.com...
Of course not.
If Ray and I can agree on anything
at all, that by itself is proof it
must be the absolute truth! ;-)
dk
Dan Koren
>
>
>
> On 5/21/05 2:25 AM, in article 428ed471$1...@news.meer.net, "Dan Koren"
> <dank...@yahoo.com> wrote:
>
>> "malcolm" <msal...@aol.com> wrote in message
>> news:1116601724.6...@o13g2000cwo.googlegroups.com...
>>> Has anyone heard it yet? Bryce Morrison of Gramaphone Magazine raved
>>> about it and said that it was even better than Alicia's, something that
>>> I find very hard to believe (especially her 1st recording on EMI).
>>>
>>> But I suppose that it was a matter of time before someone surpassed
>>> even her impossibly high performance standard for this incredibly
>>> difficult music.
>>
>> I have not heard the CD, however I did hear him
>> perform it in recital 3 weeks ago in San Fran.
>>
>> It was very disappointing. For a moment I thought
>> about posting a review on r.m.c.r, but I did not
>> have the patience to write about a concert I did
>> not like.
>>
>> In any case, lest anyone should worry about ADL's
>> standing, MAH does not even come close. Since the
>> concert I have been washing my ears every day by
>> listening to ADL and a few other Iberias.
>
> An exaggerated response, Koren.
>
> His approach is very much in line with his approach
> to most music.
Which is precisely why it does not work.
> One might call it "Apollonian", for lack of a
> better term.
Since when does "Apollonian" include punching
the piano?
> I have heard him in the Dionysius mode in Paris
Not surprising, he was probably drunk.
> recently playing the Alkan Symphony to a
> faretheewell. Really stunning.
I am beginning to suspect Albeniz' music does
not have enough notes for Mr. Hamelin to make
it sound interesting. In any case, if you feel
the urge to show the Canadian flag, Canada has
produced better pianists than Mr. Hamelin.
dk
patter
Sometimes you don't need to be complete to "get it".
Tom Deacon
On 5/21/05 12:57 PM, in article 428f6897$1...@news.meer.net, "Dan Koren"
<dank...@yahoo.com> wrote:
> If Ray and I can agree on anything
> at all, that by itself is proof it
> must be the absolute truth! ;-)
You're so far from arriving at anything resembling "truth", Koren, that if
it ever does come to you, you'll probably think it's a communist plot.
TD
Nick Sun
lately? Strange nobody cares new piano competetion any more, is it
because there are too many to pay attention to, or is it because past
results often contrary to one's own judgment? By the way, hasn't the
new Cliburn competetion just started in Texas? Anybody worth watching?
Nick Sun
still too regionized. :-)
Nick Sun
Tom Deacon
On 5/22/05 4:54 PM, in article
MPG.1cfa9139f...@news.sf.sbcglobal.net, "Wayne Reimer"
<wr...@pacbell.net> wrote:
>> In article <kKCje.10224$E7.1...@news-server.bigpond.net.au>,
>> rayt...@bigpond.com says...
> <...>
>>>>
>>> And whatever Hamelin's virtues, subtle rhythmic
>>> inflection is not high on the list (actually, it's relatively rare
>>> among the current crop of pianists, I think).
>>
>> And that, virtually rules him out then? Another full priced over-hyped flop.
>> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
>> greatness of this piano music. Larrocha, to her credit, makes me aware of
>> how good a pianist she is.
>>
> You know, I've noticed that, in general, that you seem to prefer music
> and recordings that more or less hits you over the head with the
> metaphoric sledgehammer. There's a fairly large crowd of us that
> respond to less emphatic stimuli.
There is a much more obvious preference, which you seem not to have noticed.
Ray likes his music cheap, VERY cheap. Hence the advocacy for all those very
anonymous Naxos artists. And now Sanchez doing Albeniz, which has appeared
on Brilliant Classics. Of course Ray doesn't particularly distinguish the
playing, which is hardly "brilliant", except in the unpleasant sound of the
out-of-tune piano Sanchez plays. But Ray would never even notice thqt,
because it's cheap.
TD
Bob Lombard
>> In article <kKCje.10224$E7.1...@news-server.bigpond.net.au>,
>> rayt...@bigpond.com says...
> <...>
>> >>
>> > inflection is not high on the list (actually, it's relatively rare
>> > among the current crop of pianists, I think).
>>
>> And that, virtually rules him out then? Another full priced over-hyped
>> flop.
>> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
>> greatness of this piano music. Larrocha, to her credit, makes me aware of
>> how good a pianist she is.
>>
> and recordings that more or less hits you over the head with the
> metaphoric sledgehammer. There's a fairly large crowd of us that
> respond to less emphatic stimuli.
>
be less 'fine' than your opinion of it?
bl
alanwa...@aol.com
I do not know about this much debated Mr Sanchez recording (and for all
I know it is awful) but what would the price of a recording have to do
with the quality of the performance?
For example, I was on about $500 a month when I played timpani for Mr
Kosler (under somewhat curious circumstances but that is another story)
and Ms Benackova in what I think a wonderful performance of Bartered
Bride (it was for TV/radio, not specifically a CD although it has been
issued as such) and yet I think it has good performance from all the
artists, some of whom were on a bit more than me, 1980 or so, but
probably not a lot more.
How can you judge artists from the price of any issued recording (s)?
You mean that if you pay more they play/sing better?
Spam Scone
alanwa...@aol.com wrote:
> Tom Deacon wrote:
> >
> > Ray likes his music cheap, VERY cheap. Hence the advocacy for all
> those very
> > anonymous Naxos artists. And now Sanchez doing Albeniz, which has
> appeared
> > on Brilliant Classics. Of course Ray doesn't particularly
distinguish
> the
> > playing, which is hardly "brilliant", except in the unpleasant
sound
> of the
> > out-of-tune piano Sanchez plays. But Ray would never even notice
> thqt,
> > because it's cheap.
> >
> > TD
>
> I do not know about this much debated Mr Sanchez recording (and for
all
> I know it is awful) but what would the price of a recording have to
do
> with the quality of the performance?
Nothing at all, but it's a burning issue on Planet Deacon. The idea of
someone NOT shelling out big bucks for something from Universal drives
him mad.
> For example, I was on about $500 a month when I played timpani for Mr
> Kosler (under somewhat curious circumstances but that is another
story)
> and Ms Benackova in what I think a wonderful performance of Bartered
> Bride (it was for TV/radio, not specifically a CD although it has
been
> issued as such)
Is this the one?
http://www.amazon.com/exec/obidos/ASIN/B00000DFNA/qid=1116803442/sr=2-2/ref=pd_bbs_b_2_2/102-9004374-8075349
Raymond Hall
>> In article <kKCje.10224$E7.1...@news-server.bigpond.net.au>,
>> rayt...@bigpond.com says...
> <...>
>> >>
>> > inflection is not high on the list (actually, it's relatively rare
>> > among the current crop of pianists, I think).
>>
>> And that, virtually rules him out then? Another full priced over-hyped
>> flop.
>> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
>> greatness of this piano music. Larrocha, to her credit, makes me aware of
>> how good a pianist she is.
>>
> and recordings that more or less hits you over the head with the
> metaphoric sledgehammer. There's a fairly large crowd of us that
> respond to less emphatic stimuli.
Such as what?
And well said, from someone who probably adores all the virtues of
sledgehammer, "this is moi", Beethoven, and his banalities such as the
ThumperKlavier and Ode to Joy, or the vacuous never-ending sludge machine
called Wagner and his RRRRing. End of subject. And as regards other
"sledgehammer" music, perhaps you would like to remind me of what I DO like.
Assuming of course, that you now regard yourself as the self-appointed judge
of MY taste.
I'll be waiting. For nothing.
Ray H
Taree
abac...@att.net
>
> I do not know about this much debated Mr Sanchez recording (and for
all
> I know it is awful) but what would the price of a recording have to
do
> with the quality of the performance?
>
> For example, I was on about $500 a month when I played timpani for Mr
> Kosler (under somewhat curious circumstances but that is another
story)
> and Ms Benackova in what I think a wonderful performance of Bartered
> Bride (it was for TV/radio, not specifically a CD although it has
been
> issued as such) and yet I think it has good performance from all the
> artists, some of whom were on a bit more than me, 1980 or so, but
> probably not a lot more.
>
> How can you judge artists from the price of any issued recording (s)?
> You mean that if you pay more they play/sing better?
>
> Kind regards,
> Alan M. Watkins
Alan,
GENERALLY speaking, the greatest artists (actually the most
popular)command the highest fees, etc.
It is very rare that a 2nd tier artist gets a chance to record for the
top labels...... I don't think there are any really top musicians who
record for Naxos though of course most are at least competent and some
are better than that.
As the symnpathetic Great Deacon the Beacon always says or implies,
"Life ain't always fair".
For example.... how come Livia Rev is not more famous...
AB
Nick Sun
this one in 97(or 96?). I think I still have it, just need to check it
out.
Raymond Hall
>
>
>
> On 5/22/05 4:54 PM, in article
> MPG.1cfa9139f...@news.sf.sbcglobal.net, "Wayne Reimer"
> <wr...@pacbell.net> wrote:
>
>>> In article <kKCje.10224$E7.1...@news-server.bigpond.net.au>,
>>> rayt...@bigpond.com says...
>> <...>
>>>>>
>>>> And whatever Hamelin's virtues, subtle rhythmic
>>>> inflection is not high on the list (actually, it's relatively rare
>>>> among the current crop of pianists, I think).
>>>
>>> And that, virtually rules him out then? Another full priced over-hyped
>>> flop.
>>> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
>>> greatness of this piano music. Larrocha, to her credit, makes me aware
>>> of
>>> how good a pianist she is.
>>>
>> You know, I've noticed that, in general, that you seem to prefer music
>> and recordings that more or less hits you over the head with the
>> metaphoric sledgehammer. There's a fairly large crowd of us that
>> respond to less emphatic stimuli.
>
> There is a much more obvious preference, which you seem not to have
> noticed.
> Ray likes his music cheap, VERY cheap.
Incorrect, Mr Marketing Shill, and 2nd hand used car salesman of the year. I
like GREAT, new, never before recorded music, unlike the CRAP you try to
foist on the public for as much money as possible.
Not for you Supraphon, or Naxos, or any label that has a musical conscience
about it, but just anything that has a glossy pinup on the front cover,
cheap artistry, poor notes, and 90% markup to subsidise marketing gits who
know NOTHING about music.
You, MooseDick, fit the bill perfectly. If you KNEW about music, there would
be no debate about Sanchez and Iberia. But as it isn't your particular loss
(because you know absolutely NOTHING about music per se), then please
continue to enrapture the rest here with your vapid views about nothing in
particular.
And unlike me, you won't, of course, be looking forward to getting hold of
Schuman's 4th and 9th symphonies on Naxos, because (1) it'll be too
inexpensive for you, and (2) the music will be WAY above YOUR head.
I'd stick to another Beethoven 9th if I were you, or another Rach PC 2. And
even that music can't have been absorbed that easily by your addled and weak
brain, yet, because you keep buying, and promoting, the sugary stuff.
Now get lost, you utter waste of my time.
Ray H
Taree
Raymond Hall
news:42910204$1...@spool9-east.superfeed.net...
He has no musical acuity. He has no musical ANYTHING.
Ray H
Taree
Spam Scone
abac...@att.net wrote:
> >
> GENERALLY speaking, the greatest artists (actually the most
> popular)command the highest fees, etc.
> It is very rare that a 2nd tier artist gets a chance to record for
the
> top labels...... I don't think there are any really top musicians who
> record for Naxos
Marin Alsop
Bob van Asperen
Konstanin Scherbakov
Janos Starker
Gerard Schwartz
Maria Kliegel
Samuel Ramey
...and other nonentities
Spam Scone
I have that same highlights disc. It's a wonderful performance.
Vaneyes
It should be noted, that Starker and Schwartz did those recordings for
Delios, which Naxos later required. Also, in the same regard, the Craft
reissues.
Ramey's was an unusual circumstance (as part of an ensemble),
apparently a one-off.
Regards
abac...@att.net
well, that explains how Starker, etc. "Recorded" for Naxos.....
And of course, Kreisler, Casals, Caruso all "recorded" for
Naxos:-)))))))
Maybe Mr. Spam ought to employ more honesty and "truth in advertsing"
before he makes such pronouncements.
AB
Tom Deacon
On 5/22/05 6:56 PM, in article
1116802614....@f14g2000cwb.googlegroups.com,
"alanwa...@aol.com" <alanwa...@aol.com> wrote:
> How can you judge artists from the price of any issued recording (s)?
> You mean that if you pay more they play/sing better?
You can't, Alan.
But when all the performances Ray likes are the ones which are sold by the
pound, the only conclusion one can draw is that price is the deciding
factor.
TD
Tom Deacon
On 5/22/05 7:12 PM, in article
1116803543.7...@g49g2000cwa.googlegroups.com, "Spam Scone"
<Spam...@yahoo.com> wrote:
>> I do not know about this much debated Mr Sanchez recording (and for
> all
>> I know it is awful) but what would the price of a recording have to
> do
>> with the quality of the performance?
>
> Nothing at all, but it's a burning issue on Planet Deacon. The idea of
> someone NOT shelling out big bucks for something from Universal drives
> him mad.
Ha Ha!
Well, if that is what you think, I suppose there is nothing I can do or say
to contradict your thoughts.
Personally I don't care what you shell out your money for. My only thought
is that something cheap is not necessarily good or virtuous, just as
something expensive is not necessarily good or virtuous.
I still believe that you get what you pay for, of course. If you pay for a
Rolls Royce, that is what you get. If you pay for a Hyundai, that is what
you get. They both have four wheels, but there the similarities stop.
TD
Tom Deacon
On 5/22/05 7:36 PM, in article
0I8ke.12013$E7....@news-server.bigpond.net.au, "Raymond Hall"
<rayt...@bigpond.com> wrote:
I wouldn't waste your time, Ray. It is perfectly obvious that your criteria
have nothing whatsoever to do with performance qualities, and ONLY to do
with how cheap the music is.
By the pound. Or the kilo. Take your pick.
TD
Tom Deacon
On 5/22/05 7:37 PM, in article %I8ke.12015$E7...@news-server.bigpond.net.au,
"Raymond Hall" <rayt...@bigpond.com> wrote:
Then why did you buy it?
BECAUSE IT'S CHEAP, that's why.
TD
Spam Scone
I stand corrected on Starker. Schwarz, I believe, recently did release
a new recording with Naxos. You didn't dispute the other musicians I've
named. I could have named others.
> And of course, Kreisler, Casals, Caruso all "recorded" for
> Naxos:-)))))))
I don't recall using these three as examples. Could you show me where I
did? Thanks.
> Maybe Mr. Spam ought to employ more honesty and "truth in advertsing"
> before he makes such pronouncements.
>
> AB
How odd, a call for honesty from someone who wrote, "I don't think
there are any really top musicians who record for Naxos." Well, delete
everything after the first three words and the quotation is correct.
Spam Scone
Yes, and a reduced Brilliant or Naxos Rolls trumps a full-price
Universal Yugo anyday.
Raymond Hall
Your criteria is full-priced CRAP. It is, and has always, been your job.
Period.
Looking forward to those Schuman symphonies?
Oh, silly me, music that is much too advanced for *your* EmperARGGGHHH-ROAR
ears.
Ray H
Taree
Raymond Hall
news:1116814517.7...@g44g2000cwa.googlegroups.com...
Not only trumps it. Slaughters it.
Ray H
Taree
Raymond Hall
Why should I pay more for CRAP. I already have the Larrocha. Sanchez beats
her hands down.
Is YO YO POOH a better cellist then Maria Kliegel? Of course he isn't, and
everybody and their dog and cat knows it.
Some people in this world just want to throw money away. It happens
everywhere. It is a fact that is exploited by shills like yourself. It is
called called MARKETING. A **profession** occupied by stupid shills like
yourself, and only successful because there idiots who are prepared to pay
FP for unknown CRAP.
Ray H
Taree
gerrie...@cox.net
Raymond Hall wrote:
> Why should I pay more for CRAP. I already have the Larrocha. Sanchez
beats
> her hands down.
And on what do you base this opinion? If you're going to go
"personal opinion", I have no quarrel. But if you are interested in
an objective (AND subjective 'interpretation) analysis (which I did for
RMCR, along with some others, some 2 - 3 years ago), your 'opinion'
has no basis in 'fact.' Which is all we have to go on when 'personal
opinion' clashes with notational verities (and all that this suggests
with respect to advancements over 18th-19th century notational
directions).
Gerrie C
Brendan R. Wehrung
You're like my mother--if it costs more, it MUST be better. I have most
of the Sanchez Ensayo discs, which by your dictum should be superior
artistically. Technically...well, I am not offenced by the piano sound
either.
Brendan
--
Vaneyes
Spam Scone wrote:
> I stand corrected on Starker. Schwarz, I believe, recently did
release
> a new recording with Naxos.
You may be thinking of the ones Schwarz recorded for the Milken
Archive, eg Milhaud, Berlinski, Achron. Naxos entered into an agreement
with Milken Archive regarding the marketing and distribution of those.
Regards
Raymond Hall
news:1116821215.0...@g49g2000cwa.googlegroups.com...
>
> Raymond Hall wrote:
>
>> Why should I pay more for CRAP. I already have the Larrocha. Sanchez
> beats
>> her hands down.
>
>
> And on what do you base this opinion?
By listening.
> If you're going to go
> "personal opinion", I have no quarrel. But if you are interested in
> an objective (AND subjective 'interpretation) analysis (which I did for
> RMCR, along with some others, some 2 - 3 years ago), your 'opinion'
> has no basis in 'fact.' Which is all we have to go on when 'personal
> opinion' clashes with notational verities (and all that this suggests
> with respect to advancements over 18th-19th century notational
> directions).
I have had Larrocha for a long time, and after listening to Sanchez, it was
clear to me who is more inspired as an artist in this music. It is a
subjective opinion, as most opinions are.
I have no reason to diss one of MY recordings of Iberia for the sake of it.
In actual fact Larrocha is very good. Sanchez merely raises the bar another
foot. And then some.
An opinion. Wholly subjective.
And furthermore, I never advanced that my opinion had any basis 'in fact',
as you put it. And neither has your so-called "objective" analysis any basis
in fact. Facts are left to scientists, not musical artists or mere
listeners.
Ray H
Taree
Matthew B. Tepper
to be typed in news:1116809643.4...@g14g2000cwa.googlegroups.com:
Okay, then how about Leonard Slatkin's recording of Bolcom's Blake cycle?
And Schwarz (no "t" in his name) has done a few CDs for Naxos' Milken
series.
--
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
Take THAT, Daniel Lin, Mark Sadek, James Lin & Christopher Chung!
Andrys Basten
Wayne Reimer <wr...@pacbell.net> wrote:
>> In article <MPG.1cfa84de3...@news.sf.sbcglobal.net>,
>wr...@pacbell.net says...
>Ok, I need to follow-up on this, in case anyone decided against trying
>the webcast based on it. I did get an email back from the webcast
>company today (not from the guy who had the out-of-office message) and
>they advised me to clear out my browser's caches and cookies (it never
>would have occurred to me to do this for the particular problem I was
>having - it still seems a little strange, and it's always possible that
>something actually did change on the transmission side, too). So I
>did, and tried the webcast again and it seems much improved, for the
>relatively short while I tested it.
Maybe the cookie settings from another session weren't appropriate
for the software's determination of what speed and signal your
computer could take. Also, the cache can get extremely large
and if your max setting for it is a certain size, and you're close
to it, then they will have to keep buffering etc.
Something like that.
The speed of your computer and the video card mem as well
as general memory available (I'd startup with the broadcast
and add other things later) really have an impact on the
experience.
I have an old 400MHz Win98 computer, my main computer. I also
have a new 1.6G XP notebook with 512M Ram (shared with video)
and there's no comparison when it comes to video streaming.
Am on Comcast, which gets me between 4-5mbps these day.
I have the notebook on wireless going off the Comcast cblmodem
with the main connection being the main desktop with the MAC
# of the card expected. Then the notebook picks up from the
router.
The notebook gets just about perfect streaming video. Looks
like an excellent DVD with the movements matching the sound
98% of the time. The old desktop gets only a series of stills
but with excellent sound. Never is rebuffering done though.
Haven't experienced the dynamic range problem you did.
By the way, those who register (free) and access when there
is no live competition, are offered the full recital (streamed)
that Kern gave during her prelims in 2001. Rach2 sonata,
a Shostakovich prelude/fugue, transcription of tristan&isolde
theme, and Liszt Don Juan fantasy (sorry for the vague description).
It's a "test" after which you should give feedback on your
connection experience with the site streaming etc.
>all, it's fun to watch, although nearly seven hours a day is tiring,
>even though I'm not glued to the monitor for the whole time. I can't
>imagine being a judge for one of these things.
Me neither. By the way, I really enjoyed An's set. Unusually
musical for a competition performance.
I didn't join until late in the day.
Andrys Basten
Wayne Reimer <wr...@pacbell.net> wrote:
>I just picked up Crespin's fantastic version of Ravel's Sheherazade
>with Ansermet for a song (pun unintended, but there nonetheless),
>really cheap. I recently paid full price for a Moscheles piano
>concerto recording on Hyperion. Many people would argue the Crespin is
>overall a better quality recording. So what? I have a particular
>interest in Moscheles.
I think most people would 'argue' that the Crespin is overall
supreme singing, in this piece !
- A
Raymond Hall
> In article <xv8ke.12004$E7....@news-server.bigpond.net.au>, raytoby3
> @bigpond.com says...
>> "Wayne Reimer" <wr...@pacbell.net> wrote in message
>> news:MPG.1cfa9139f...@news.sf.sbcglobal.net...
>> >> rayt...@bigpond.com says...
>> > <...>
>> >> >>
>> >> > And whatever Hamelin's virtues, subtle rhythmic
>> >> > inflection is not high on the list (actually, it's relatively rare
>> >> > among the current crop of pianists, I think).
>> >>
>> >> And that, virtually rules him out then? Another full priced over-hyped
>> >> flop.
>> >> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of
>> >> the
>> >> greatness of this piano music. Larrocha, to her credit, makes me aware
>> >> of
>> >> how good a pianist she is.
>> >>
>> > You know, I've noticed that, in general, that you seem to prefer music
>> > and recordings that more or less hits you over the head with the
>> > metaphoric sledgehammer. There's a fairly large crowd of us that
>> > respond to less emphatic stimuli.
>>
>>
>>
> Such as Larrocha, as compared to Sanchez, of course.
>
>> And well said, from someone who probably adores all the virtues of
>> sledgehammer, "this is moi", Beethoven, and his banalities such as the
>> ThumperKlavier and Ode to Joy, or the vacuous never-ending sludge machine
>> called Wagner and his RRRRing. End of subject. And as regards other
>> "sledgehammer" music, perhaps you would like to remind me of what I DO
>> like.
>> Assuming of course, that you now regard yourself as the self-appointed
>> judge
>> of MY taste.
>>
>> I'll be waiting. For nothing.
>>
> Just so you know, I don't think I would have suggested that you need
> your music to be a bit on the crude side for it to fully register had
> it not been for the post from you a while ago that included a
> suggestion of Guillou as a good organist for the WTC, and seemingly
> dissed anything other than the full Cecil de Mille treatment of that
> work. Yeah, believe it or not, I remembered that. And now, the idea
> that Larrocha doesn't project Iberia well enough for you to hear what a
> great thing it is while Sanchez does, well, that did it.
Well, obviously, you don't appear to detect the touches of tongue in cheek
that is often used around these parts. I didn't say that Guillou would be
"The Answer" to the WTC, or even part of the answer, but it most certainly
wouldn't be BORING. I'm fed up listening to pianists approaching these mere
exercises, as though they are going to break through the veil of the secrets
of 9 dimensional quantum space exposing God himself, and playing them as
though they are having to constrict a fart for one whole hour.
For some well played Bach, just go to Wilhem Kempff. He will cure all ills
as regards any WTC.
> BTW, I don't hate the Sanchez, I just don't think it's far better than
> Larrocha, and I sure don't think it does anything that would, should,
> or could convince me the music was intrinsically of higher quality than
> Larrocha had already done. Maybe this is because I already had a high
> regard for the music before I ever heard the Sanchez.
You actually say above, quoted, that you "don't think Sanchez is far better
than Larrocha". Well, I am glad Wayne, that we have reached some agreement
that Sanchez IS better. On that, we can both agree. And of course, in so
doing, I am also sure you don't hate Sanchez either.
<g>
Others, such as TD, wouldn't know a good pianist if one came up and poked
him between the eyes.
Ray H
Taree
alanwa...@aol.com
>
> Is this the one?
>
http://www.amazon.com/exec/obidos/ASIN/B00000DFNA/qid=1116803442/sr=2-2/ref=pd_bbs_b_2_2/102-9004374-8075349
Yes that is the performance although I have seen it with a different
cover - a TV "still" of once of the dance episodes I think.
Either way, I do not think there is a weak link in the cast and the
orchestra play well (I think). I have always been surprised that Petr
Dvorsky did not have more of an international career but there we are.
Mr Kosler also gets the tempi right, in my opinion. He hustles the
overture along but not at the ridiculous speed that you sometimes hear.
It is a wonderful opera and the work which, I suppose, has shown the
world what a master Smetana was.
Kind regards,
Alan M. Watkins
Spam Scone
alanwa...@aol.com wrote:
> >
> > Is this the one?
> >
>
http://www.amazon.com/exec/obidos/ASIN/B00000DFNA/qid=1116803442/sr=2-2/ref=pd_bbs_b_2_2/102-9004374-8075349
>
>
> Yes that is the performance although I have seen it with a different
> cover - a TV "still" of once of the dance episodes I think.
>
> Either way, I do not think there is a weak link in the cast and the
> orchestra play well (I think).
The orchestral playing is fabulous. In particular the wind section and
the percussion stood out - and I'm not being polite here, since I'd
owned the recording before I knew you played on it.
I have always been surprised that Petr
> Dvorsky did not have more of an international career but there we
are.
>
> Mr Kosler also gets the tempi right, in my opinion. He hustles the
> overture along but not at the ridiculous speed that you sometimes
hear.
His pacing of the dances seem perfect.
Spam Scone
alanwa...@aol.com wrote:
> >
> > Is this the one?
> >
>
http://www.amazon.com/exec/obidos/ASIN/B00000DFNA/qid=1116803442/sr=2-2/ref=pd_bbs_b_2_2/102-9004374-8075349
>
>
> Yes that is the performance although I have seen it with a different
> cover - a TV "still" of once of the dance episodes I think.
>
> Either way, I do not think there is a weak link in the cast and the
> orchestra play well (I think).
The orchestral playing is fabulous. In particular the wind section and
the percussion stood out - and I'm not being polite here, since I'd
owned the recording before I knew you played on it.
I have always been surprised that Petr
> Dvorsky did not have more of an international career but there we
are.
>
> Mr Kosler also gets the tempi right, in my opinion. He hustles the
> overture along but not at the ridiculous speed that you sometimes
hear.
His pacing of the dances seem perfect.
> It is a wonderful opera and the work which, I suppose, has shown the
Tom Deacon
On 5/22/05 10:15 PM, in article
1116814517.7...@g44g2000cwa.googlegroups.com, "Spam Scone"
<Spam...@yahoo.com> wrote:
They don't "reissue" Rolls Royces in Yugoslavia.
TD
Tom Deacon
On 5/23/05 12:21 AM, in article d6rlp6$hn4$1...@theodyn.ncf.ca, "Brendan R.
Wehrung" <ck...@FreeNet.Carleton.CA> wrote:
I don't have a "dictum", Brendan, except that you get what you pay for.
Actually, I paid full price - both on LP and CD - for the Sanchez crap,
which just means that even I can be tricked into paying Full Price for junk
once in a while. Usually I am more selective.
It would seem that you, however, are seduced by a low price and are willing
to put up with anything as a result.
I find that lamentable, if understandable.
TD
Tom Deacon
On 5/23/05 1:09 AM, in article Xns965EE10591E...@207.217.125.201,
The attitude of the late owner of the Hyperion label was that if ANY of his
artists made even one CD for the Naxos label - and that includes Marco Polo,
a would-be top price product - that artist would never, ever make another
recording for Hyperion. Ever.
Smart man, if a little short-sighted in the copyright department. Maybe he
was cheap?
TD
Tom Deacon
On 5/23/05 2:26 AM, in article
MPG.1cfb17441...@news.sf.sbcglobal.net, "Wayne Reimer"
<wr...@pacbell.net> wrote:
> In article <BEB6AFBA.2E8C%non...@yahoo.com>, non...@yahoo.com says...
>>
>>
>>
>> On 5/22/05 7:37 PM, in article %I8ke.12015$E7...@news-server.bigpond.net.au,
>> "Raymond Hall" <rayt...@bigpond.com> wrote:
>>
>>> "Bob Lombard" <thorste...@vermontel.net> wrote in message
>>> news:42910204$1...@spool9-east.superfeed.net...
>>>>
>>>> "Wayne Reimer" <wr...@pacbell.net> wrote in message
>>>> news:MPG.1cfa9139f...@news.sf.sbcglobal.net...
>>>>>> In article <kKCje.10224$E7.1...@news-server.bigpond.net.au>,
>>>>>> rayt...@bigpond.com says...
>>>>> <...>
>>>>>>>>
>>>>>>> And whatever Hamelin's virtues, subtle rhythmic
>>>>>>> inflection is not high on the list (actually, it's relatively rare
>>>>>>> among the current crop of pianists, I think).
>>>>>>
>>>>>> And that, virtually rules him out then? Another full priced over-hyped
>>>>>> flop.
>>>>>> Thank gawd for Sanchez. Listening to Sanchez made me fully aware of the
>>>>>> greatness of this piano music. Larrocha, to her credit, makes me aware
>>>>>> of
>>>>>> how good a pianist she is.
>>>>>>
>>>>> You know, I've noticed that, in general, that you seem to prefer music
>>>>> and recordings that more or less hits you over the head with the
>>>>> metaphoric sledgehammer. There's a fairly large crowd of us that
>>>>> respond to less emphatic stimuli.
>>>>>
>>>> All you hear in Sanchez's Iberia is a sledgehammer? Your musical acuity
>>>> may be less 'fine' than your opinion of it?
>>>
>>> He has no musical acuity. He has no musical ANYTHING.
>>
>> Then why did you buy it?
>>
>> BECAUSE IT'S CHEAP, that's why.
>>
> No, no, no. It's me that has no musical ANYTHING. Funny how Ray's
> writing reflects his musical tastes - both are formed in fits of
> emotion that quickly divorce themselves from any reality outside his
> own head. Fine - I do that a lot myself (which is not to say I think
> it's admirable).
>
> By the way, I bought the Sanchez full price from Ensayo; does that mean
> I've got a better performance than the one on Brilliant?
Alas, no, Wayne.
What it shows is that the world is full of fake products which sell at high
prices.
Ever buy a Gucci watch in Thailand?
Suggestion. Don't.
TD
Simon Roberts
>
>
>Personally I don't care what you shell out your money for. My only thought
>is that something cheap is not necessarily good or virtuous, just as
>something expensive is not necessarily good or virtuous.
>
>I still believe that you get what you pay for, of course. If you pay for a
>Rolls Royce, that is what you get. If you pay for a Hyundai, that is what
>you get. They both have four wheels, but there the similarities stop.
It's a shame you didn't read paragraph 1 before writing paragraph 2.
Simon
Simon Roberts
abac...@att.net says...
>GENERALLY speaking, the greatest artists (actually the most
>popular)command the highest fees, etc.
Perhaps, but this has nothing to do with whether the price of a CD reflects its
quality (the comment to which Alan Watkins was responding).
>It is very rare that a 2nd tier artist gets a chance to record for the
>top labels......
Seems quite frequent to me. Or are you defining "top artist" as "artist who
records for a top label" (in which case it's merely circular)?
I don't think there are any really top musicians who
>record for Naxos though of course most are at least competent and some
>are better than that.
Here are four off the top of my head: Ewa Podles; Luba Orgonasova; Kurt Moll;
Konstantin Scherbakov. And if there's a better recording of Dvorak's Wind
Serenade than theirs or a better HIP recording of Haydn's Creation than their
recent recording, I've not met them.
Simon
Matthew B. Tepper
typed in news:1116837219.4...@g44g2000cwa.googlegroups.com:
I'm pretty sure that's the one to which I gave a favorable review in
American Record Guide about twenty years ago.
Tom Deacon
On 5/23/05 9:31 AM, in article d6slv...@drn.newsguy.com, "Simon Roberts"
<sd...@comcast.net> wrote:
I realize that you find them in conflict, but they are not, Simon.
A Rolls has its downside. Expensive to repair, very hard on gas, gives off
an air of snobbism. But of course in a world in which none of these concerns
matter, it's still a fabulous car.
The Hyundai is not a fabulous car. It is cheap transportation. It will never
be anything else.
As I say, you get what you pay for. And what you CAN pay for.
TD
Tom Deacon
On 5/23/05 9:43 AM, in article d6smm...@drn.newsguy.com, "Simon Roberts"
<sd...@comcast.net> wrote:
> In article <1116804449.7...@o13g2000cwo.googlegroups.com>,
> abac...@att.net says...
>
>> GENERALLY speaking, the greatest artists (actually the most
>> popular)command the highest fees, etc.
>
> Perhaps, but this has nothing to do with whether the price of a CD reflects
> its
> quality (the comment to which Alan Watkins was responding).
>
>> It is very rare that a 2nd tier artist gets a chance to record for the
>> top labels......
>
> Seems quite frequent to me. Or are you defining "top artist" as "artist who
> records for a top label" (in which case it's merely circular)?
>
> I don't think there are any really top musicians who
>> record for Naxos though of course most are at least competent and some
>> are better than that.
>
> Here are four off the top of my head: Konstantin Scherbakov.
I realize that Scherbakov, a pianist whom I admire, although not
unreservedly, records for Naxos and also for their "Top Price" Marco Polo
label. Somehow his stature has never been the equal of his colleague MAH,
who records for Hyperion, a legitimate Top Price label currently undergoing
financial difficulties.
That said, Mr. Scherbakov, with whom I correspond fairly frequently, would
dearly like 1)management, and, one can only assume, 2) a better label than
Naxos. Has he killed his chances forever for one of the "biggies", rather
than the "sell the mess for less" Naxos brand? Probably. And that is a pity,
but the reality of the current music business.
You, Simon, and others, find this a lovely situation. I can only regard it
as lamentable.
> And if there's a better recording of Dvorak's Wind
> Serenade than theirs or a better HIP recording of Haydn's Creation than their
> recent recording, I've not met them.
I have not heard the recordings in question. But I know the piece and have
several recordings of it. Perhaps I am missing something, but on the other
hand, I think I probably can with some degree of safety. My life has never
depended upon these works.
If yours does, more power to you.
TD
Tom Deacon
On 5/23/05 10:30 AM, in article
Xns965F4C58CBE...@207.217.125.201, "Matthew B. Tepper"
<oy?@earthlink.net> wrote:
> I'm pretty sure that's the one to which I gave a favorable review in
> American Record Guide about twenty years ago.
Gosh. All is revealed. Tepper was one of Vroon's goons.
Quelle surprise!
TD
Vaneyes
Tom Deacon wrote:
> The attitude of the late owner of the Hyperion label was that if ANY
of his
> artists made even one CD for the Naxos label - and that includes
Marco Polo,
> a would-be top price product - that artist would never, ever make
another
> recording for Hyperion. Ever.
>
> Smart man, if a little short-sighted in the copyright department.
Maybe he
> was cheap?
Conductors Lloyd-Jones and Wordsworth were two exceptions to his
"attitude". There may be others.
Regards
alanwa...@aol.com
>
> The orchestral playing is fabulous. In particular the wind section
and
> the percussion stood out - and I'm not being polite here, since I'd
> owned the recording before I knew you played on it.
>
>
> His pacing of the dances seem perfect.
>
Thank you for your very kind remarks.
Iain Neill Reid
Red Byrd would be another
Gibbons on Naxos (1994)
Scots Ladymass on Hyperion (this year)
Neill Reid
>
>Regards
>
jrs...@aol.com
> TD
In speaking of an artist's fees for recordings, are you also factoring
in the effect these recordings have on concert fees? I would imagine
that a recording star commands more for concerts and vice versa. Is
this true? Has Mr. Scherbakov's cult fame and surprising ubiquity on
store shelves as a Naxos/Marco Polo recording artist (far more
exposure, shelfwise, than Hyperion ever afforded) enhanced his concert
livelihood?
I have heard horror stories about the tight production schedules and
low fees offered by Naxos in the past. I am certain that only a few,
hardy souls thrived under such conditions. Most artists probably
wouldn't.
--Jeff
Tom Deacon
On 5/23/05 11:23 AM, in article
1116861782....@g47g2000cwa.googlegroups.com, "Vaneyes"
<van...@excite.com> wrote:
That would depend upon when they recorded for other labels, I would think.
This story, by the way, was told to me by one of the artists who was
"threatened" in this way.
I believe him.
TD
Tom Deacon
On 5/23/05 1:07 PM, in article
1116868023....@g43g2000cwa.googlegroups.com, "jrs...@aol.com"
<jrs...@aol.com> wrote:
>
Has Mr. Scherbakov's cult fame and surprising ubiquity on
> store shelves as a Naxos/Marco Polo recording artist (far more
> exposure, shelfwise, than Hyperion ever afforded) enhanced his concert
> livelihood?
I am sure not. When was the last time he appeared in your vicinity?
> I have heard horror stories about the tight production schedules and
> low fees offered by Naxos in the past. I am certain that only a few,
> hardy souls thrived under such conditions. Most artists probably
> wouldn't.
Correct.
The "winners" for Naxos are those artists who can learn quickly,
superficially, if necessary, in order to meet his recording demands. Rarely
will you find an artist who has really lived with the repertoire for a long
time and delivers a mature, considered interpretation on record.
There are, perhaps, exceptions, but not many in my admittedly limited
experience.
Scherbakov's Godowsky Sonata, for example, hardly compares with that by MAH,
who raises that woefully weak piece to heights only dreamed of by the
composer himself.
TD
Tom Deacon
On 5/20/05 11:08 AM, in article
1116601724.6...@o13g2000cwo.googlegroups.com, "malcolm"
<msal...@aol.com> wrote:
> Has anyone heard it yet? Bryce Morrison of Gramaphone Magazine raved
> about it and said that it was even better than Alicia's, something that
> I find very hard to believe (especially her 1st recording on EMI).
I just listened again to AdL's stereo Hispavox recording in its newly
refreshed transfer on Spanish EMI.
This is and always has been one of the glories of the recorded repertoire.
Nobody I have ever heard in this music has ever brought the collection of
qualities AdL does to this music: technique, tone, temperament, rhythm,
colour, charm, melancholy. She has, or had, rather, it all.
Anyone who really loves this piece simply must make the necessary steps to
acquire this new transfer on EMI. I know, I know. The old one is still
lingering in the shops. But the transformation is dramatic. Finally, EMI has
gone back to the original Hispavox stereo mastertapes.
TD
Vaneyes
You misbelieve, then. Check it out for yourself. Hyperion & Naxos
recording dates for Lloyd-Jones, Wordsworth can easily be found at
arkivmusic.com
You'll see that both conductors (perhaps others) recorded for Hyperion
after recording for Naxos, well before Ted Perry's death.
Regards
Tom Deacon
On 5/23/05 2:24 PM, in article
1116872640.5...@g49g2000cwa.googlegroups.com, "Vaneyes"
<van...@excite.com> wrote:
> You misbelieve, then. Check it out for yourself. Hyperion & Naxos
> recording dates for Lloyd-Jones, Wordsworth can easily be found at
> arkivmusic.com
>
> You'll see that both conductors (perhaps others) recorded for Hyperion
> after recording for Naxos, well before Ted Perry's death.
I can only suppose that there are exceptions for every rule. Perhaps
conductors, as opposed to star instrumentalists, lead charmed lives.
TD
jrs...@aol.com
Tom Deacon wrote:
> On 5/23/05 1:07 PM, in article
> 1116868023....@g43g2000cwa.googlegroups.com,
"jrs...@aol.com"
> <jrs...@aol.com> wrote:
>
> >
> Has Mr. Scherbakov's cult fame and surprising ubiquity on
> > store shelves as a Naxos/Marco Polo recording artist (far more
> > exposure, shelfwise, than Hyperion ever afforded) enhanced his
concert
> > livelihood?
>
> I am sure not. When was the last time he appeared in your vicinity?
>
>
Seems that Mr. Scherbakov has a particularly uninformative Web site, so
his concert schedule is a complete mystery. He ought to grumble loudly
about his management. To be sure, they are not taking full advantage of
his international recordings exposure, limiting him instead to a narrow
range of cities.
That said, I suspect he comes to my vicinity about as often as Rudolf
Buchbinder, Igor Zhukov, Elisso Virsaladze, and other minor non-Naxoi
ever did or do. (I did not say didgeridoo.)
> > I have heard horror stories about the tight production schedules
and
> > low fees offered by Naxos in the past. I am certain that only a
few,
> > hardy souls thrived under such conditions. Most artists probably
> > wouldn't.
>
> Correct.
>
> The "winners" for Naxos are those artists who can learn quickly,
> superficially, if necessary, in order to meet his recording demands.
Rarely
> will you find an artist who has really lived with the repertoire for
a long
> time and delivers a mature, considered interpretation on record.
>
> There are, perhaps, exceptions, but not many in my admittedly limited
> experience.
>
> Scherbakov's Godowsky Sonata, for example, hardly compares with that
by MAH,
> who raises that woefully weak piece to heights only dreamed of by the
> composer himself.
>
> TD
Godowsky raised to great heights? Is this pianist a loon?
--Jeff
Simon Roberts
What does that have to do with whether first rate artists record for Naxos?
>> And if there's a better recording of Dvorak's Wind
>> Serenade than theirs or a better HIP recording of Haydn's Creation than their
>> recent recording, I've not met them.
>
>I have not heard the recordings in question. But I know the piece and have
>several recordings of it. Perhaps I am missing something, but on the other
>hand, I think I probably can with some degree of safety. My life has never
>depended upon these works.
So what?
Simon
jrs...@aol.com
So...get with it: Haydn is just not as good Godowsky. You're wasting
your time. Listen to some manly stuff with big keyboards. :)
There is no "what" after a pathetic response like that.
I will vouch for the superlative Naxos Dvorak Serenade--but then, TD
wouldn't need my opinion. In recent years, EMI, Sony, and Chandos have
all recorded those minor-leaguers at one time or another.
--Jeff
Allen
Three exceptions so far. It looks like the Far-north Fount of
Fallibility has struck again.
Allen
alanwa...@aol.com
>
> The attitude of the late owner of the Hyperion label was that if ANY
of his
> artists made even one CD for the Naxos label - and that includes
Marco Polo,
> a would-be top price product - that artist would never, ever make
another
> recording for Hyperion. Ever.
>
> Smart man, if a little short-sighted in the copyright department.
Maybe he
> was cheap?
>
> TD
But avuncular and quite lovely, nonetheless. See other threads.
He came unstuck with Janet Baker, however. (Schubert Songs Volume I,
Goethe and Schiller settings I think).
Upon telling her agent that he would meet her fee but that no royalties
were payable, Ms Baker's agent wrote: "Unfortunately, therefore, my
artist will not be able to participate in your project."
As she was somewhat better known in Schubert than Dr Sawkins in
Lalande, they paid up.
Well, you would for Volume I with a "name" singer wouldn't you?
Vaneyes
Raymond Hall wrote:
> Looking forward to those Schuman symphonies?
Lately, Naxos is more about looking backward. Yet another Delos rehash
from the early 90's...with Schwarz on the podium. Ouch!
Regards
Peter Lemken
> In speaking of an artist's fees for recordings, are you also factoring
> in the effect these recordings have on concert fees? I would imagine
> that a recording star commands more for concerts and vice versa. Is
> this true? Has Mr. Scherbakov's cult fame and surprising ubiquity on
> store shelves as a Naxos/Marco Polo recording artist (far more
> exposure, shelfwise, than Hyperion ever afforded) enhanced his concert
> livelihood?
No.
And Naxos/Marco Polo has nothing to do with it.
Peter Lemken
Berlin
--
Was schlechten Geschmack so berauschend macht, ist die aristokratische
Wonne der Verärgerung.
-- Charles Baudelaire
J. R. Robinson
The Schuman symphony cycle is not to be made up of Delos reissues;
the recordings on the first installment are first releases made in
2004.
J. R. Robinson
Denver, Colorado
Vaneyes
A forward look? Thanks for that, J.R., I sit corrected.
Regards
Tom Deacon
On 5/23/05 3:07 PM, in article d6t9l...@drn.newsguy.com, "Simon Roberts"
<sd...@comcast.net> wrote:
I would have thought that it meant a great deal.
TD
Tom Deacon
On 5/23/05 4:39 PM, in article
1116880755....@z14g2000cwz.googlegroups.com,
"alanwa...@aol.com" <alanwa...@aol.com> wrote:
She was probably a glaring exception, Alan.
Perhaps Ms. Hewitt has equal clout today in the corridors of Hyperion. But
if they are truly "short of cash", so to speak, perhaps they will try to
avoid payment of royalties.
Artists seem always to get the short end of the stick.
Some artists refuse to take this situation lying down, however.
Ms. Norman used to crack the whip at Philips by having her lawyers demand an
audit. It didn't net her any more money - Philips being an honest broker -
but it did put the fear of God in the royalty department of Polygram.
TD
Tom Deacon
On 5/23/05 3:23 PM, in article
1116876212.4...@o13g2000cwo.googlegroups.com, "jrs...@aol.com"
<jrs...@aol.com> wrote:
>
> Tom Deacon wrote:
>> On 5/23/05 1:07 PM, in article
>> 1116868023....@g43g2000cwa.googlegroups.com,
> "jrs...@aol.com"
>> <jrs...@aol.com> wrote:
>>
>>>
>> Has Mr. Scherbakov's cult fame and surprising ubiquity on
>>> store shelves as a Naxos/Marco Polo recording artist (far more
>>> exposure, shelfwise, than Hyperion ever afforded) enhanced his
> concert
>>> livelihood?
>>
>> I am sure not. When was the last time he appeared in your vicinity?
>>
>>
>
> Seems that Mr. Scherbakov has a particularly uninformative Web site, so
> his concert schedule is a complete mystery. He ought to grumble loudly
> about his management. To be sure, they are not taking full advantage of
> his international recordings exposure, limiting him instead to a narrow
> range of cities.
>
> That said, I suspect he comes to my vicinity about as often as Rudolf
> Buchbinder, Igor Zhukov, Elisso Virsaladze, and other minor non-Naxoi
> ever did or do. (I did not say didgeridoo.)
Somehow, I have the definite feeling that Scherbakov would very much envy
the concert schedule of Mr. Buchbinder.
>>> I have heard horror stories about the tight production schedules
> and
>>> low fees offered by Naxos in the past. I am certain that only a
> few,
>>> hardy souls thrived under such conditions. Most artists probably
>>> wouldn't.
>>
>> Correct.
>>
>> The "winners" for Naxos are those artists who can learn quickly,
>> superficially, if necessary, in order to meet his recording demands.
> Rarely
>> will you find an artist who has really lived with the repertoire for
> a long
>> time and delivers a mature, considered interpretation on record.
>>
>> There are, perhaps, exceptions, but not many in my admittedly limited
>> experience.
>>
>> Scherbakov's Godowsky Sonata, for example, hardly compares with that
> by MAH,
>> who raises that woefully weak piece to heights only dreamed of by the
>> composer himself.
>>
>> TD
>
> Godowsky raised to great heights? Is this pianist a loon?
No, but certainly an alchemist.
TD
Tom Deacon
On 5/23/05 3:45 PM, in article
1116877512.2...@g43g2000cwa.googlegroups.com, "jrs...@aol.com"
<jrs...@aol.com> wrote:
There is, I suppose, a point of view in all of that.
Lord knows it escapes me, however.
TD
Tom Deacon
On 5/23/05 5:06 PM, in article 3feuv3F...@individual.net, "Peter Lemken"
<spam.f...@buerotiger.de> wrote:
> jrs...@aol.com wrote:
>
>> In speaking of an artist's fees for recordings, are you also factoring
>> in the effect these recordings have on concert fees? I would imagine
>> that a recording star commands more for concerts and vice versa. Is
>> this true? Has Mr. Scherbakov's cult fame and surprising ubiquity on
>> store shelves as a Naxos/Marco Polo recording artist (far more
>> exposure, shelfwise, than Hyperion ever afforded) enhanced his concert
>> livelihood?
>
> No.
>
> And Naxos/Marco Polo has nothing to do with it.
And NO recording contract has had similar effect on the "career" of Mr.
Zhukov.
TD