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Re: 'reactions to the record' symposium at stanford april 12-14
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T. Esteban Ayala
Apr 8, 2012, 9:26:23 PM4/8/12
to
On Apr 8, 6:21 pm, "part-timer" <f...@field.org> wrote:
> wear your rmcr t-shirts...
>
> http://music.stanford.edu/Events/StanfordMusicSymposium/2012/schedule
>
> on saturday:
>
> Frederic Lamond and the
> Shifting Styles of Beethoven Performance at the Dawn of the Recorded Era
>
> Jonathan Summers (British Library Sound Archive)
> Kumaran Arul (Stanford University)
>
> Frederic Lamond’s stature as a preeminent interpreter of Beethoven in the
> first decades of the twentieth century has been largely forgotten today.
> His performances garnered praise from the likes of Hans von Bülow, Franz
> Liszt, Arthur Schnabel, Ernest Newman and Hugo Riemann. But Lamond’s
> recorded performances generally leave modern listeners mystified – and at
> the heart of the confusion lies the stylistic ‘appropriateness’ of his
> interpretive choices. How could Lamond’s Beethoven have received
> admiration while manifesting such a radical departure from present-day
> tastes?
>
> Answering this question leads us to consider not only the dynamic strands
> of nineteenth-century tradition, but also the ideological currency
> afforded to stylistics at the fin de siècle. Indeed, then, as now, style
> represented a conception of the work, and mattered enough to provoke
> heated debates. Ultimately, competing visions of Beethoven – as he is
> affixed atop the canonical pantheon – capture the struggle over the
> development of modernism.
>
> These two talks will consider rare and unpublished recordings including
> the upcoming first release by Marston Records of a live performance of
> Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> Minor.
>
> Jonathan Summers will provide an overview of Beethoven piano sonata
> performance history, placing Lamond’s career within the context of a
> timeline of developing interest in the sonatas, beginning with Liszt,
> Bülow and the first complete cycles in the late nineteenth century, and
> proceeding towards later advocates such as D’Albert, Backhaus, and
> Schnabel. Recordings from the collection of the British Library Sound
> Archive, including unpublished and unreleased selections, will be used to
> suggest the range of approaches in the era. Summers will also present
> recently discovered examples from Lamond’s personal scores with markings
> that provide insights into his conception and style.
>
> Kumaran Arul will contextualize the reception and interpretation of
> Lamond’s performances from the time of his debut in London in 1886,
> through his growth into a leading Beethoven player in the second decade of
> the twentieth century, to his dwindling appeal in the thirties and
> forties. The arch of Lamond’s career encompasses the rise and fall of an
> approach to Beethoven formed by the teachings of Hans von Bülow and Liszt;
> its diminishing appeal is a bellwether, signaling the loss of an authentic
> nineteenth-century tradition. As such, Lamond’s decline, viewed in
> conjunction with the ascendance of Schnabel, reveals a compelling
> narrative of shifting values at the dawn of the recorded era.
All I have is my RCMR tube-top. Is that OK?
> wear your rmcr t-shirts...
>
> http://music.stanford.edu/Events/StanfordMusicSymposium/2012/schedule
>
> on saturday:
>
> Frederic Lamond and the
> Shifting Styles of Beethoven Performance at the Dawn of the Recorded Era
>
> Jonathan Summers (British Library Sound Archive)
> Kumaran Arul (Stanford University)
>
> Frederic Lamond’s stature as a preeminent interpreter of Beethoven in the
> first decades of the twentieth century has been largely forgotten today.
> His performances garnered praise from the likes of Hans von Bülow, Franz
> Liszt, Arthur Schnabel, Ernest Newman and Hugo Riemann. But Lamond’s
> recorded performances generally leave modern listeners mystified – and at
> the heart of the confusion lies the stylistic ‘appropriateness’ of his
> interpretive choices. How could Lamond’s Beethoven have received
> admiration while manifesting such a radical departure from present-day
> tastes?
>
> Answering this question leads us to consider not only the dynamic strands
> of nineteenth-century tradition, but also the ideological currency
> afforded to stylistics at the fin de siècle. Indeed, then, as now, style
> represented a conception of the work, and mattered enough to provoke
> heated debates. Ultimately, competing visions of Beethoven – as he is
> affixed atop the canonical pantheon – capture the struggle over the
> development of modernism.
>
> These two talks will consider rare and unpublished recordings including
> the upcoming first release by Marston Records of a live performance of
> Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> Minor.
>
> Jonathan Summers will provide an overview of Beethoven piano sonata
> performance history, placing Lamond’s career within the context of a
> timeline of developing interest in the sonatas, beginning with Liszt,
> Bülow and the first complete cycles in the late nineteenth century, and
> proceeding towards later advocates such as D’Albert, Backhaus, and
> Schnabel. Recordings from the collection of the British Library Sound
> Archive, including unpublished and unreleased selections, will be used to
> suggest the range of approaches in the era. Summers will also present
> recently discovered examples from Lamond’s personal scores with markings
> that provide insights into his conception and style.
>
> Kumaran Arul will contextualize the reception and interpretation of
> Lamond’s performances from the time of his debut in London in 1886,
> through his growth into a leading Beethoven player in the second decade of
> the twentieth century, to his dwindling appeal in the thirties and
> forties. The arch of Lamond’s career encompasses the rise and fall of an
> approach to Beethoven formed by the teachings of Hans von Bülow and Liszt;
> its diminishing appeal is a bellwether, signaling the loss of an authentic
> nineteenth-century tradition. As such, Lamond’s decline, viewed in
> conjunction with the ascendance of Schnabel, reveals a compelling
> narrative of shifting values at the dawn of the recorded era.
All I have is my RCMR tube-top. Is that OK?
John Wiser
Apr 8, 2012, 11:13:42 PM4/8/12
to
"T. Esteban Ayala" <testeb...@gmail.com> wrote:
On Apr 8, 6:21 pm, "part-timer" <f...@field.org> wrote: [ne-ver mind]
copying the entire fucking message for his one line:
> wear your rmcr t-shirts...All I have is my RCMR tube-top. Is that OK?
Only if you wear it on your head.
JDW-
On Apr 8, 6:21 pm, "part-timer" <f...@field.org> wrote: [ne-ver mind]
copying the entire fucking message for his one line:
> wear your rmcr t-shirts...All I have is my RCMR tube-top. Is that OK?
Only if you wear it on your head.
JDW-
Matthew B. Tepper
Apr 9, 2012, 1:57:35 AM4/9/12
to
"part-timer" <f...@field.org> appears to have caused the following letters to
be typed in news:XnsA02FBADA0C178...@216.151.153.39:
> These two talks will consider rare and unpublished recordings including
> the upcoming first release by Marston Records of a live performance of
> Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> Minor.
Mengelberg conducting, or somebody else?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers.
be typed in news:XnsA02FBADA0C178...@216.151.153.39:
> These two talks will consider rare and unpublished recordings including
> the upcoming first release by Marston Records of a live performance of
> Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> Minor.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers.
Kimba W Lion
Apr 9, 2012, 10:27:19 AM4/9/12
to
R. Edwards
Apr 9, 2012, 10:31:41 AM4/9/12
to
On Apr 9, 1:57 am, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
> "part-timer" <f...@field.org> appears to have caused the following letters to
> be typed innews:XnsA02FBADA0C178...@216.151.153.39:
> "part-timer" <f...@field.org> appears to have caused the following letters to
>
> > These two talks will consider rare and unpublished recordings including
> > the upcoming first release by Marston Records of a live performance of
> > Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> > Minor.
>
> Mengelberg conducting, or somebody else?
>
I believe it's Van Beinum.
> > These two talks will consider rare and unpublished recordings including
> > the upcoming first release by Marston Records of a live performance of
> > Lamond with the Concertgebouw in Beethoven’s Piano Concerto No. 3 in C
> > Minor.
>
> Mengelberg conducting, or somebody else?
>
Ray
Matthew B. Tepper
Apr 9, 2012, 11:45:59 AM4/9/12
to
"R. Edwards" <opu...@gmail.com> appears to have caused the following
Thanks.
letters to be typed in
news:1fa14f23-e58a-4af8...@l14g2000vbe.googlegroups.com:
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