Appropriate Use Policy

[Just zis Guy, you know?]

On Tue, 15 Feb 2005 10:26:14 -0000, "Dave Larrington"
<[email protected]> wrote in message
<[email protected]>:

>One of the minimal number of classical wossnames in my collection is
>Saint-Saen's Symphony No. 3 on which, if I remember correctly, the Orchestre
>Symphonique de Montréal were in a studio in Canada while Peter Hurford was
>playing the organ parts in Chartres cathedral.

I have that too

Peter Hurford is a very nice man, not at all the "behold the Great
Artist" type. As mentioned elsewhere, his Decca recording of the
collected Bach organ works is some of my favourite music.

Guy
--
May contain traces of irony. Contents liable to settle after posting.
http://www.chapmancentral.co.uk

85% of helmet statistics are made up, 69% of them at CHS, Puget Sound

 

[Peter Clinch]

Just zis Guy, you know? wrote:

>>Easier than a Mellotron though... ("Tuning Mellotrons doesn't"- Robert
>>Fripp).

> I can well believe it.

The problem was that the electric motors used to run the tapes would
slow down the more keys you pushed, so the more notes in a chord the
flatter it would be. So depending on how you'd play it, I guess you'd
aim for a natural tuning that would be right with the modal number of
keys used in any given chord you might play in a piece... Good game!

Mellotrons don't sound anything like the instruments they were meant to
sound like, but they do sound rather wonderful on their own terms anyway.

> Somewhere on Radio 3's Listen Again there
> should be an interview with Bob Moog broadcast on Sunday evening, if
> you're interested.

Might dig that out, thanks for the tip.

Pete.
--
Peter Clinch Medical Physics IT Officer
Tel 44 1382 660111 ext. 33637 Univ. of Dundee, Ninewells Hospital
Fax 44 1382 640177 Dundee DD1 9SY Scotland UK
net [email protected] http://www.dundee.ac.uk/~pjclinch/

 

[Peter Clinch]

Mark McNeill wrote:

> Wildly OT, I know, but does anybody know of a newsgroup for recumbent
> bikes & trikes?

There is one around here, that can be uncovered with a suitable "mark as
read" filter. Signal to noise becomes /actually tangible/ if you put
the word "Dolan" in it.

Pete.
--
Peter Clinch Medical Physics IT Officer
Tel 44 1382 660111 ext. 33637 Univ. of Dundee, Ninewells Hospital
Fax 44 1382 640177 Dundee DD1 9SY Scotland UK
net [email protected] http://www.dundee.ac.uk/~pjclinch/

 

[Mark McNeill]

Response to Peter Clinch:
> > Wildly OT, I know, but does anybody know of a newsgroup for recumbent
> > bikes & trikes?
>
> There is one around here, that can be uncovered with a suitable "mark as
> read" filter. Signal to noise becomes /actually tangible/ if you put
> the word "Dolan" in it.

Oh, he's already in the bozo bin, along with a couple of others.

I used to lurk here a long while ago, when I was thinking of going bent.
Now that I am, and have been for over a year, I thought I'd come back,
though I don't expect to contribute much.


--
Mark, UK.

"For men become civilized, not in proportion to their
willingness to believe, but in their readiness to doubt."

 

[Just zis Guy, you know?]

On Tue, 15 Feb 2005 09:15:34 -0000, Mark McNeill
<[email protected]> wrote in message
<[email protected]>:

>> Get with the programme, Ed. If you want to hear Bach as Bach heard it
>> himself then a harpsichord or an organ is the instrument of choice.

>It's a complex issue, I know, but Bach's approval of the fortepianos he
>tried, and his description of keyboard pieces as just that - pieces for
>keyboard - give a fair amount of leeway for what is right and proper for
>performances of Bach's keyboard works. I was persuaded of some of the
>merits of Bach on the piano by Glenn Gould's two publicly released
>recordings of the Goldberg Variations; if you haven't heard Murray
>Perahia's recording of the same piece, you're missing a most
>extraordinary treat.

I think I said elsewhere, I prefer the Perahia recording to the Gould,
although I couldn't say why. Possibly Perahia is more lyrical, I
don't know.

><Devil's advocate> But all this begs the question, why on earth should we
>want to hear Bach as Bach heard it?

That was a response to Ed's assertion that live music is less pure
than studio recordings. I have no particular preference either way -
well, maybe a slight preference in that I actually like the sound of
the harpsichord, but I like piano music as well. Listen to Goldberg
(played on the piano) back to back with Chopin and Ed's assertions
regarding the unimportance of influences are shown up for the
falsehood they truly are.

>Historical accuracy in performance
>is not an aesthetic virtue; I'd submit it has nothing to do with
>aesthetics at all (as witness so many scratchily worthy recordings by
>e.g. Heinrich Goebel and his Cologne bunch). Research may illuminate all
>sorts of details of score or performance; but that doesn't mean that the
>one-to-a-part performances by Rifkin, say, or Jeggsie's sewing-machine
>tempi, are intrinsically *better* - in any sense other than drily
>historical - than Karajan's big-band approach. </Devil's advocate>

I think you might be arguing with the wrong person here - Ed is the
one saying that some versions of the classics are intrinsically more
worthy than others. I have several different versions of a number of
pieces, each interpreted slightly differently. I like the scholarly
approach of the Academy of Ancient Music, and I like the balls-out
Karajan style too.

>Wildly OT, I know, but does anybody know of a newsgroup for recumbent
>bikes & trikes?

I think there might be one at rec.music.classical but ICBW

Guy
--
May contain traces of irony. Contents liable to settle after posting.
http://www.chapmancentral.co.uk

85% of helmet statistics are made up, 69% of them at CHS, Puget Sound

 

[Mark McNeill]

Response to Just zis Guy, you know?:

> I think I said elsewhere, I prefer the Perahia recording to the Gould,
> although I couldn't say why. Possibly Perahia is more lyrical, I
> don't know.

IMO Perahia's tempi are all pretty much perfect. ISTR he said he
approached the variations as dances. I have a real love/hate thing with
Gould: he had an incredible technique, married to mannerisms which can
(again, of course, IMO) illuminate a piece marvellously (the Partitas,
the Goldbergs), or be utterly maddening (some of the 48, the English
Suites, the French Suites, the Italian Concerto, his Haydn, his
Mozart...).


> I think you might be arguing with the wrong person here

Indeed, and TBH I wasn't arguing at all - apart from the devil's advocate
thing, your post just reminded me of arguments I used to have re the
Historically-Informed-Performance/big-band controversy. There are
aspects of the HIP movement I love, and I think their recordings should
form an important part of any collection; but obv., it doesn't follow
that a HI performance is necessarily closer to The Truth than non-HI.
But you know that.


--
Mark, UK.

"For every complex problem, there is a solution that is simple,
neat, and wrong."

 

[Just zis Guy, you know?]

On Tue, 15 Feb 2005 12:49:12 -0000, Mark McNeill
<[email protected]> wrote in message
<[email protected]>:

>it doesn't follow
>that a HI performance is necessarily closer to The Truth than non-HI.

All performances should be historically informed - what the performers
choose to do with that information is what makes music fun

Guy
--
May contain traces of irony. Contents liable to settle after posting.
http://www.chapmancentral.co.uk

85% of helmet statistics are made up, 69% of them at CHS, Puget Sound

 

[Tom Sherman]

Just zis Guy, you know? wrote:

> ...
> The other day I listened back to back to the rondo from Mozart's Eb
> horn concerto no. 4 played by Dennis Brain, Barry Tuckwell and Peter
> Damm. Three very different performances, and any judgment of which is
> best is entirely subjective....

As a Chicago partisan, I insist you add Clevenger to the list!

--
Tom Sherman - Earth

 

[Tom Sherman]

Just zis Guy, you know? wrote:

> All performances should be historically informed - what the performers
> choose to do with that information is what makes music fun

E.g. Handel-Beecham Messiah. Has anyone ever sung "Why do the
nations" better than Giorgio Tozzi [1]?

[1] Another Chicagoan.

--
Tom Sherman - Earth