Coming Up Live This Week

[jayne lee wilson]

Well I'm sorry, Dave 2002 and Simon B., but you DO get "sound like that" on THIS HiFi - and on Radio 3 too, but only if (...weary sigh...) you listen to the live webstream running 320 kbps AAC etc.
FM, Freeview, DAB - just don't cut it anymore. I have a feeling no-one here wants to me remind them (...weary sigh...) why that is.

The Szymanowski 3rd was magnificent - those sonic waves I'd hoped for produced some of the loudest and grandest climaxes I've yet heard off Radio 3's finest technical platform. Gergiev was fully up to the peculiar blend of control and abandonment this composer's best work requires; as with the Brahms 3rd, textural fullness was never allowed to obscure inner detail or complex counterpoint. But beyond that the performers found a sense of rapture and ecstasy which can only come from an inspirational conductor. I haven't often found an affinity with his musical character, but this was one of the best performances I've heard from Gergiev. If you have to sing "Like an Eagle soar above! Now is your soul tonight a hero!" you better sound like you mean it.

Interesting how the Haydn Variations were played in a brighter, lighter style than the symphony. A more open sound - evidently Gergiev sees it as stylistically distinct from the 3rd Symphony, a Divertimento related to the 1st Serenade etc.

Returning to the symphony, I'm surprised at all the criticism here, which seems to overlook the success of this performance ON ITS OWN TERMS. Digging out that Salzburg LSO 2nd with Bohm, I realised how much I've missed that richness of string-tone, the full chorusing of the winds, each phrase sung out warmly in a tradition of performance we hear rather less of now, but which, for me, Gergiev formed a rapprochement with tonight - but still darker and richer, reminding one also of Svetlanov's rather too massive USSRSSO cycle, or perhaps Kondrashin's more slav, individualised readings. His performance proceeded with "never a boast or a see-here" as Basil Bunting wrote of Domenico Scarlatti. But with an orchestral largesse which won't please you if your instant internal comparator says, I want Dorati, I'd rather have Horenstein, or Wand, or Zinman... (But HvK? I wouldn't have chosen him as an exemplary Brahmsian... he probably never got the 1st quite right until that final incandescence in London and Tokyo).

It remains a frustration that, with so many different webcast/broadcast platforms for concerts, it becomes almost impossible to compare notes unless those details are noted. But it's quite clear that the latest live "HDs" innovation provides, by some distance, the most accurate way of enjoying, and appraising the live concert relays. (I remain suspicious of the quality-control on the iPlayer listen again facility). Once again tonight the neutral tonal balance, 3-dimensional spaciousness and the natural, wide dynamic range quickly drew one in to the performance, undistracted by technical shortcomings.

And if Mr. Hornspieler doesn't care for the technical aspects of the above discussion - hard cheese.

[Dave2002]

Jayne,

I don't know how you can be so sure about the sounds from the hi-fi, and speak so seemingly authoritatively about it. Quite by chance I met a recording engineer who had been recording for LSO live at the hall on the train on the way home. There were three recording teams at the concert. These were 1. The BBC 2. The recording team for LSO live and 3. A video recording team for a French TV station. The French team may be going to use the LSO Live feed for their broadcast, which will happen tonight. The LSO Live people were using an arrangement which looked like a Decca tree. My fellow rail passenger commented that the BBC used many microphones, but didn't know why.

Slightly to my surprise he thought there was enough headroom, at least regarding the microphones, which he said could cope with sounds up to 140 dB (relative to what?). I think he meant it should be possible to record a fleet of Concordes or Tornados from just behind the engines as the planes take off without the microphones falling to bits. He thought last night's performance got up to a tad under 120dB. You might have equipment which could replay this accurately - most of us don't. in any case, I'd still believe that the constraints for recording wuch a massive wall of sound as the Szymanowski piece would be such as to render it a paler imitation of what I heard and felt (literally - not emotionally) in the hall.

Your comment about Gergie's lighter view of the variations concurs with my view, and I felt it was enjoyable, though not perfect - but I don't expect that, even approzimately.

Re the Brahms symphony, I am not sure that I often want to listen to pieces played in their OWN TERMS. Sometimes I hear pieces played in ways which are very different from mine and other's conceptions, and sometimes I am converted and enlightened by this. The symphony was as I have already described it. It may be very hard piece to conduct and do well - how to play different parts of the work and get different moods and contrasts without getting obvious changes of gear and dynamics? IMO Gergiev did not do well with this.

Regarding the music by Szymanowski, I just sat back and tried to listen. I've never heard it live before, and hardly know ir from CDs and other sources. I can't reallly comment on the performance because of my unfamiliarity with the work, though it sounded excellent to me. Toby Spence was very good, though of course I did not understsnd the words. I did wonder whether the solo violinist was playing louder than necessary much of the way through, though near the end he did go down to p, pp or even ppp. Dynamics apart, his playing was very good.
I think playing (and maybe singing) on the Barbican stage is a real challenge anyway, as is making an audio recording there.

Simon B.

I love your comment about septicaemia - absolutely agree. I have cheered Mr G in performances of Stravinsky, and heard many of his Shostakovich renditions live, which were very good. I did once hear him do Mozart, which was at least passable. Apparently he did want to do last night's programme, and may even have chosen it himself, though whether this was so as not to scare away the horses I don't know.

[Hornspieler]

...... And if Mr. Hornspieler doesn't care for the technical aspects of the above discussion - hard cheese.

Please tell me where, in the post that I quoted, there is any mention of the technical aspects of the performance.

A very fine, richly mature, mitteleuropan Brahms 3rd. A full-toned, moderately but thoughtfully-paced, texturally clear realisation, needing no interpretative idiosyncrasy or pointing of a phrase to draw us in to its distinctive world. Karl Bohm might have done it this way (on one of his livelier days at least). Remember his live 2nd in Salzburg with this orchestra? But sounding even warmer and richer tonight.

Excellent

For me, too many words obscure the message in the sentence. When I listen to a live concert, I am listening for the accuracy of the players and the impact of the conductor's interpretation. Whether I am hearing it on Sennheiser headphones, Quad HiFi or the Kitchen portable radio has no importance or influence upon my assessment of a performance.

... and I don't like soft cheeses

HS

[David-G]

But it's quite clear that the latest live "HDs" innovation provides, by some distance, the most accurate way of enjoying, and appraising the live concert relays. (I remain suspicious of the quality-control on the iPlayer listen again facility).

I thought that we had had a definitive view from the "techies" here that the iPlayer stream is identical to the live stream? Am I wrong? I don't see why it should be different, anyway.

[MrGongGong]

Please tell me where, in the post that I quoted, there is any mention of the technical aspects of the performance.



For me, too many words obscure the message in the sentence. When I listen to a live concert, I am listening for the accuracy of the players and the impact of the conductor's interpretation. Whether I am hearing it on Sennheiser headphones, Quad HiFi or the Kitchen portable radio has no importance or influence upon my assessment of a performance.

... and I don't like soft cheeses

HS

That's a relief , for a moment I thought you were going to say you were "listening" on a B&O "system"

but you really should try Gaperon before dismissing soft cheese

[Thropplenoggin]

I'm intrigued. What is this hi-fidelity contraption that JLW listens to the radio on, and dare I tell her that I earwig in on R3 from France on one of these?

[teamsaint]

I'm intrigued. What is this hi-fidelity contraption that JLW listens to the radio on, and dare I tell her that I earwig in on R3 from France on one of these?

Now THAT is class, Nogbad.

[Hornspieler]

I'm intrigued. What is this hi-fidelity contraption that JLW listens to the radio on, and dare I tell her that I earwig in on R3 from France on one of these?

So your reception is obviously Crystal Clear?

HS

[amateur51]

So your reception is obviously Crystal Clear?

HS

Have a care HS - there's a bloke round here who'll go if he finds you going off-topic on technical matters

[Thropplenoggin]

So your reception is obviously Crystal Clear?

HS

[jayne lee wilson]

I could write of how, late into the night, I listened to, and noted the striking similarities of, Bohm's live Salzburg 1973 LSO Brahms 2 and Gergiev's Brahms 3 from the Barbican last night, enjoying both again...

...or how some 90 db of Szymanowski in my room, suitably well reproduced, may give me a thrill comparable to 120 db in a somewhat larger concert hall, drawing on my comparative experiences of other concerts and recordings...

...but somehow I can't be bothered. Too many people seem to take a different view as a personal affront, too few engage with me on PRECISE, DETAILED points of musical interpretation. Too much reacting, not enough listening going on.

(Dave - thanks for all the detail in your post above; I would only add that my idealised "best seat" position in a virtual concert hall might well have given me a different audition from your own - if you consider the acoustic problems of The Barbican this may have given me a better experience of the Brahms; think of how the RAH, and other halls, often sound better at home.)

Thomas Roth was the worst, but he's not the only one is he? I almost miss him now.

[amateur51]

Thomas Roth was the worst, but he's not the only one is he? I almost miss him now.

Beautifully judged, that almost

[Thropplenoggin]

I could write of how, late into the night, I listened to, and noted the striking similarities of, Bohm's live Salzburg 1973 LSO Brahms 2 and Gergiev's Brahms 3 from the Barbican last night, enjoying both again...

...or how some 90 db of Szymanowski in my room, suitably well reproduced, may give me a thrill comparable to 120 db in a somewhat larger concert hall, drawing on my comparative experiences of other concerts and recordings...

...but somehow I can't be bothered. Too many people seem to take a different view as a personal affront, too few engage with me on PRECISE, DETAILED points of musical interpretation. Too much reacting, not enough listening going on.

(Dave - thanks for all the detail in your post above; I would only add that my idealised "best seat" position in a virtual concert hall might well have given me a different audition from your own - if you consider the acoustic problems of The Barbican this may have given me a better experience of the Brahms; think of how the RAH, and other halls, often sound better at home.)

Thomas Roth was the worst, but he's not the only one is he? I almost miss him now.
But I'm sure some of you wouldn't miss me...

I find that very hard to believe!

I hope you don't go. You have strong opinions, JLW, and defend them robustly, but others should be entitled to challenge them. For those on the sidelines, it always makes for insightful reading. A forum would be a dull place indeed if it only involved polite consensus at all times.

[amateur51]

I could write of how, late into the night, I listened to, and noted the striking similarities of, Bohm's live Salzburg 1973 LSO Brahms 2 and Gergiev's Brahms 3 from the Barbican last night, enjoying both again...

...or how some 90 db of Szymanowski in my room, suitably well reproduced, may give me a thrill comparable to 120 db in a somewhat larger concert hall, drawing on my comparative experiences of other concerts and recordings...

...but somehow I can't be bothered. Too many people seem to take a different view as a personal affront, too few engage with me on PRECISE, DETAILED points of musical interpretation. Too much reacting, not enough listening going on.

(Dave - thanks for all the detail in your post above; I would only add that my idealised "best seat" position in a virtual concert hall might well have given me a different audition from your own - if you consider the acoustic problems of The Barbican this may have given me a better experience of the Brahms; think of how the RAH, and other halls, often sound better at home.)

Thomas Roth was the worst, but he's not the only one is he? I almost miss him now.

Fret not about these nay-sayers jlw - I like your enthusiasm above all else. I have hopelessly duff ears but I enjoy what I enjoy and I hope to catch some of your enthusiasm.

Leave those others to witter & rage - especially the one who is like Statler & Waldorf all rolled into one (no names ... )

http://www.youtube.com/watch?NR=1&v=...ture=endscreen

[Dave2002]

(Dave - thanks for all the detail in your post above; I would only add that my idealised "best seat" position in a virtual concert hall might well have given me a different audition from your own - if you consider the acoustic problems of The Barbican this may have given me a better experience of the Brahms; think of how the RAH, and other halls, often sound better at home.)

Fair point I suppose. I thought my seat was quite acceptable last night, though I'd liked to have been more central. The Barbican can indeed provide a bit of a strained experience, depending on location in the hall.

Then there's the RAH - you get double value for money, and real excitement in pieces such as Bartok's 2nd piano concerto, where the pianist sounds as if s(he) [it was a she, last time I heard it there] is going at twice the normal speed, with every note repeated and in time.

If anyone can locate the French TV channel, it might be possible to pick up [effectively] the LSO Live version of the Szymanowski tonight. Unfortunately I don't know which TV channel it was being recorded for.

PS: This page may help to find the French TV material - http://www.tvfrance-intl.com/en/prog...y-gergiev.html