Matthew B. Tepper wrote: > jrsnfld <jrsn...@aol.com> appears to have caused the following letters to > be typed in news:6f1698d2-7e7a-4e62-8d10- > a1d671d29...@h40g2000prf.googlegroups.com:
>> On Nov 2, 8:46 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote: >>> jrsnfld <jrsn...@aol.com> appears to have caused the following letters >>> to be typed in news:0d98cf38-f318-4ee8-a354- >>> 90759c1c6...@w37g2000prg.googlegroups.com:
>>>> Here's a pretty good shopping list: >>> [snip] >>>> Yakov Kreizberg >>> [snip]
>>> But not his brother, eh? So much for Karajan's tutelage! >> His brother's fine, but he's close to Kocsis' age and not quite as >> noteworthy as a conductor. But he's certainly ok
>>> I saw Kreizberg a number of years ago at the Hollywood Bowl: Glinka >>> "Ruslan and Ludmila" Overture, Rachmaninoff PC #2 with Hélène Grimaud, >>> Dvorak "New World" Symphony. >> How was the concert?
> Pretty good; I came away with a favorable impression of the conductor and > pianist. The Dvorak in particular sounded fresh and unhackneyed, which is > something of a miracle given how many times I've heard it.
Kreizberg came to Portland a few years ago. I forget the other works on the program, but he gave a Beethoven 7th that was as good as I've ever heard. Fast but not rushed, with the Finale an absolute whirlwind.
> I wouldn't have even mentioned this, but the comment "una fabulosa > interpretacion, de una pieza fabulosa, de un compositor fabuloso, de > una orquesta fabulosa y de un director tambien fabuloso! SUBLIME!" > got to me ( :.
Not being on youtube today, could you give some more information, like the names of compositor and pieza?
Gerard wrote: > SG wrote: >> I wouldn't have even mentioned this, but the comment "una fabulosa >> interpretacion, de una pieza fabulosa, de un compositor fabuloso, de >> una orquesta fabulosa y de un director tambien fabuloso! SUBLIME!" >> got to me ( :.
> Not being on youtube today, could you give some more information, like the names > of compositor and pieza?
You mean you don't recognize it from the description?
> Matthew B. Tepper wrote: >> jrsnfld <jrsn...@aol.com> appears to have caused the following letters >> to be typed in news:6f1698d2-7e7a-4e62-8d10- >> a1d671d29...@h40g2000prf.googlegroups.com:
>>> On Nov 2, 8:46 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote: >>>> jrsnfld <jrsn...@aol.com> appears to have caused the following >>>> letters to be typed in news:0d98cf38-f318-4ee8-a354- >>>> 90759c1c6...@w37g2000prg.googlegroups.com:
>>>>> Here's a pretty good shopping list: >>>> [snip] >>>>> Yakov Kreizberg >>>> [snip]
>>>> But not his brother, eh? So much for Karajan's tutelage! >>> His brother's fine, but he's close to Kocsis' age and not quite as >>> noteworthy as a conductor. But he's certainly ok
>>>> I saw Kreizberg a number of years ago at the Hollywood Bowl: Glinka >>>> "Ruslan and Ludmila" Overture, Rachmaninoff PC #2 with Hélène >>>> Grimaud, Dvorak "New World" Symphony. >>> How was the concert?
>> Pretty good; I came away with a favorable impression of the conductor >> and pianist. The Dvorak in particular sounded fresh and unhackneyed, >> which is something of a miracle given how many times I've heard it.
> Kreizberg came to Portland a few years ago. I forget the other works on > the program, but he gave a Beethoven 7th that was as good as I've ever > heard. Fast but not rushed, with the Finale an absolute whirlwind.
The Glinka on the program I saw was also "fast but not rushed." Someday I swear I'll see a conductor and orchestra get pulled over for speeding while performing this piece.
-- 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
There are several I rather like, but I would suggest you start with Jurowski. I've been too lazy to check what's on youtube, but I bet they have excerpts of at least one of his Hansel & Gretels, and maybe some of a marvelous Dresden concert which consisted largely of Bach.
(Of course, some of those I like most are HIPsters, so I won't bother recommending them!)
On Nov 3, 12:24 pm, Simon Roberts <s...@comcast.net> wrote:
> There are several I rather like, but I would suggest you start with > Jurowski. I've been too lazy to check what's on youtube, but I bet they > have excerpts of at least one of his Hansel & Gretels, and maybe some of a > marvelous Dresden concert which consisted largely of Bach.
> (Of course, some of those I like most are HIPsters, so I won't bother > recommending them!)
> Simon
That reminds me...in addition to Jurowski and Vasily Petrenko, we should not forget that the young Russian contingent includes Kirill Petrenko. I'm not sure which of these is most promising--they're all quite good.
>>> > Yakov Kreizberg >>> I saw Kreizberg a number of years ago at the Hollywood Bowl: Glinka >>> "Ruslan and Ludmila" Overture, Rachmaninoff PC #2 with Hélène >>> Grimaud, Dvorak "New World" Symphony.
>> How was the concert?
> Pretty good; I came away with a favorable impression of the conductor > and pianist. The Dvorak in particular sounded fresh and unhackneyed, > which is something of a miracle given how many times I've heard it.
Kreizberg is familiar to Philly audiences from a number of guest appearances over the past decade or so. He can be exciting, or merely excitable, but usually the former. When Sawallisch had to beg out of the European tour that was to be his swan song as MD, Kreizberg was hastily drafted to fill in, with decent results - although there were reports that some senior players quietly pulled him aside to complain about the tempo for the Scherzo-March in the Tchaikovsky Pathetique. Most memorable performances: Shostakovich 11 and Schmidt 4.
Another excitable frequent flyer: Andrei Boreyko, whose live performances are more memorable than the only recording of his that I've heard.
"Tonight and tomorrow morning you could try Harding doing Sibelius 7 and Schumann 2 on the Swedish Radio Live P2 archive. I note they have a Martinu 6th with Peter Oundjian--a violinst turned conductor who does good work, but who hasn't yet made my "list". (And check it out: they have Gergiev doing Ein Heldenleben! That ought to be enough to get you over to their website, right?). "
... and got lost. I tried by myself, I really did. No search results.... don't know where to go. Like Basil Fawlty after realizing there is in fact a real fire happening: h...h...hhhelp?
> "Tonight and tomorrow morning you could try Harding doing Sibelius 7 > and Schumann 2 on the Swedish Radio Live P2 archive. I note they have > a Martinu 6th with Peter Oundjian--a violinst turned conductor who > does good work, but who hasn't yet made my "list". (And check it out: > they have Gergiev doing Ein Heldenleben! That ought to be enough to > get you over to their website, right?). "
> ... and got lost. I tried by myself, I really did. No search > results.... don't know where to go. Like Basil Fawlty after realizing > there is in fact a real fire happening: h...h...hhhelp?
> Thanks Lena - can this be saved, or just listened to? If the former, > how the, may I say, heck?
You can always grab audio off of your computer and save it. There have been threads here I think (about which free programs to use for this, depending on what you're on). I unfortunately the heck sorry do not have time to check if you're using a mac or windows right now :) , so I'll have to try to answer later...
On Nov 6, 12:14 am, Lena <emswo...@gmail.com> wrote:
> On Nov 5, 11:46 pm, SG <sgg...@gmail.com> wrote:
> > Thanks Lena - can this be saved, or just listened to? If the former, > > how the, may I say, heck?
> You can always grab audio off of your computer and save it. There > have been threads here I think (about which free programs to use for > this, depending on what you're on).
I can't find the threads now, but I'm pretty sure I've seen people recommend Total Recorder for windows. It's not quite free, but fairly close. (Sorry to be so vague - I don't use it. Others might know better...)
> Thanks Lena - can this be saved, or just listened to? If the former, > how the, may I say, heck?
My advice: this time, just listen and don't worry about recording it. Then I'll be curious to know if you liked it and we can work through your technical questions later. Sometimes adding software requires a little bit of troubleshooting. --Jeff
> My advice: this time, just listen and don't worry about recording it. > Then I'll be curious to know if you liked it and we can work through > your technical questions later. Sometimes adding software requires a > little bit of troubleshooting.
Thanks, Jeff, I've listened to the whole Ein Heldenleben. I found it superb. Very accurate for a live recording - not hyper-perfect, sometimes very slight out-of-sync secondary voices or winds when doubling strings, etc., yet quite accurate for something put together with a "guest" conductor for a one-take, live performance. No serious flaw whatsoever, good enough to publish. Not to mention the trademark Gergiev flexibility and risks-taking, which are even harder to project, without endless rehearsals, in music as polyrhytmic and densely textured as this. It is a piece I know and "hear" rather well, due especially to Mengelberg's unrivaled two recordings, but also the composer himself (a tad indifferent), Karajan, Barbirolli, Kempe, and others. Not a favorite, composition-wise, but a fabulous occasion to expose the flavors of the orchestral bacon.
What surprised me, with Gergiev, was the reduction of bellicosity automatically evoked by Ein HeldenLeberwurst ( :, in favour of lyricism and transparency. There is no particular (and somewhat expected) heaviness, not even in the battle-of-(with)-the(-belly-) bulge episode, but a sense of mature freshness and understated nostalgia permeates the music. It's almost as if the big noise is embraced and redeemed lyricism of the outer movements. Heavens, Ein Bratleben actually sounds like excellent music here! I would not have guessed it's Gergiev, so once again I am impressed by the fact that, his notorious empathy with Slavic music once noted, he is so good in many other styles (Debussy, Mahler, Brahms, Verdi, now Strauss, to mention some), even if arguably not as supremely excellent as in different strands of Slavic music.
Everything considered, a superb performance, to me the most revealing since Mengelberg.
Of course Gergiev generally speaking privileges fast tempos in most of the music he performs, with exceptions (I don't think even Celibidache did the very coda of PIT's Romeo and Juliet as slowly as VG did, in the Kirov/Philips recording), but that doesn't make him predictable and exhaustible-in-on-shtick, at least not to me. Don't you like how he lovingly takes his time towards the end of Ein Moldenleben ( :?
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