Originally posted by Serial_Apologist
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Essential Classics - The Continuing Debate
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Originally posted by gradus View Postff didn't Rameau-m the point.
Proust describes his two aunts who are constantly making obscure allusions under the misapprehension that they HAVE imparted some fact perfectly clearly, when in fact no one has even followed them closely enough to realise that they are mystified. Eg "Oh, I think someone" [exchanging knowing glance] "was extremely pleased …" = I did tell Mr. X yesterday and he was pleased to hear it.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Actually, what I was going to say was that I finally got round to throwing out a lot of the old FoR3 archive (the BBC will have kept copies, I'm sure ) and came across an article by a blogger on his radio listening:
"I've just been listening to this afternoon's Lunchtime Concert on BBC Radio 3 [It was J-E Bavouzet, Debussy Preludes Bk 2] ... It was interesting to listen to, but not being knowledgeable about classical music, I think I'll stick to the presenter-led shows so that I know what's going on!"
Should have stuck to Essential Classics.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by JasonPalmer View PostOooo interesting facts about this Mozart piece, you live and learn with radio 3. I raise a mug of coffee to say hi to fellow listeners.
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I missed this as I had to go out just before it came on. It is one of my favourite pieces, perhaps because I played viola in my youth. It always seems to give the soloists so much pleasure as well - evident if one can see their faces, but coming across even if just heard. A long time ago I saw a TV broadcast(can't remember who the soloists were except they were big names at that time, possibly Perlman and Zukerman) where it was a case of "anything you can do" as phrases were tossed to and fro with raised eyebrows or a quirk of the mouth; it was a joy to watch. I don't think I've heard a performance that I've hated, as the music seems to rise above that, but there are times where I've felt the sounds of the instruments were too similar. I like there to be a contrast between the two that comes from violas with more of a viol like sound; it's possible that decision about tuning - scordatura or not - might influence that as well.
This http://www.viola-in-music.com/Mozart...ncertante.html is a bit messy but includes some interesting bits. In the paragraph about the score is a possible explanation of the solo/orchestra parts that EH mentions.
A round up of recordings https://www.gramophone.co.uk/feature...olin-and-viola
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