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Not the most reliable of listings. O.k., Cornelius Cardew's Material can be played on guitar (indeed, though not composed specifically for guitar, a recording of played on such an instrument has been issued on disc), but the only mention of a guitar in the page linked to is to his learning to play the guitar in order to play it in a performance of Le marteau sans maitre, not to has having composer anything for guitar.
It's probably because there isn't much British guitar music.
Jeff Beck, Jimmy Page, Ritchie Blackmore, Eric Clapton, Steve Hillage, Paul Kossoff, Hank Marvin, Chris Spedding, Steve Howe, Richard Thompson, Tony Iommi, Steve Marriott, Vini Reilly, Peter Frampton, Robert Fripp, Roy Harper, Keef Richard ................
That Tennstedt Walkure Act 1 - crikey! I couldn't order it fast enough. Glorious voices (I haven't heard a ringing heldentenor like that since S. Jerusalem - I missed my chance to see Kollo live through illness (his) ). And John Tom as Hunding!
10.45am Kate Bolton-Porciatti joins Andrew to discuss an eclectic array of recent Early Music releases including Cello concertos by CPE Bach, Caldara Cervantes operas, and Telemann Fantasies
With Andrew McGregor. Including Building a Library: Elgar: Falstaff.
Apologies for this double posting and I am aware that music of Telemann and Caldara isn’t exactly a major interest on these forum but I think the reviewer on this slot, Kate Bolton-Porciatti, deserves a wider audience.
She was calm (none of those Yeah, yeah, yeah. Absolutely! Exactly!! etc.) and sounded completely dependable. I found her descriptions and explanations precise and her use of technical terms considerate. More than anything else, I found her talk most interesting. Andrew sounded like a student asking well prepared (I am sure they really were) questions at his tutorial.
10.45am Kate Bolton-Porciatti joins Andrew to discuss an eclectic array of recent Early Music releases including Cello concertos by CPE Bach, Caldara Cervantes operas, and Telemann Fantasies
With Andrew McGregor. Including Building a Library: Elgar: Falstaff.
Apologies for this double posting and I am aware that music of Telemann and Caldara isn’t exactly a major interest on these forum but I think the reviewer on this slot, Kate Bolton-Porciatti, deserves a wider audience.
She was calm (none of those Yeah, yeah, yeah. Absolutely! Exactly!! etc.) and sounded completely dependable. I found her descriptions and explanations precise and her use of technical terms considerate. More than anything else, I found her talk most interesting. Andrew sounded like a student asking well prepared (I am sure they really were) questions at his tutorial.
That Tennstedt Walkure Act 1 - crikey! I couldn't order it fast enough. Glorious voices (I haven't heard a ringing heldentenor like that since S. Jerusalem - I missed my chance to see Kollo live through illness (his) ). And John Tom as Hunding!
Yes! I had the benefit of listening to the disc a couple of months back on Laurie Watt's earth-shaking speakers - absolutely electrifying, and wonderful singing as well as playing.... Eva-Marie Bundschuh was a new name to me - I think, looking at the booklet, she was a singer in East Germany as it then was, whom Klaus T must have known but who had less of a profile in 'the west'...
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
Yes! I had the benefit of listening to the disc a couple of months back on Laurie Watt's earth-shaking speakers - absolutely electrifying, and wonderful singing as well as playing.... Eva-Marie Bundschuh was a new name to me - I think, looking at the booklet, she was a singer in East Germany as it then was, whom Klaus T must have known but who had less of a profile in 'the west'...
Yes, to me too - her Wiki page is in German which I don't read but which I skimmed for dates and places - seems to have stuck fairly closely to home. What a marvellous disc.
John Tomlinson on his original home turf - there's a nice interview with him on the Barenboim Ring DVDs saying that when DB asked him to do Wotan he thought DB was making a mistake, he (JT) was a natural Hunding or Hagen, DB wanted a bass-baritone like James Morris...but Barenboim insisted he was exactly what he wanted, and the rest is history. Nice to have his Hunding, alongside the menory of his Hagen in the last ROH ring.
John Tomlinson on his original home turf - there's a nice interview with him on the Barenboim Ring DVDs saying that when DB asked him to do Wotan he thought DB was making a mistake, he (JT) was a natural Hunding or Hagen, DB wanted a bass-baritone like James Morris...but Barenboim insisted he was exactly what he wanted, and the rest is history. Nice to have his Hunding, alongside the menory of his Hagen in the last ROH ring.
Ms Bundschuh also appears (as Gutrune) on that Barenboim/Kupfer Ring set
Many thanks for the recommendations for the new CD. Looks like another one for the collection!
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
Ms Bundschuh also appears (as Gutrune) on that Barenboim/Kupfer Ring set
Many thanks for the recommendations for the new CD. Looks like another one for the collection!
So she does! Time I looked at that again. Clocks going back, time for a Ring cycle as the evenings lengthen....
I'd forgotten I also have another John Tom Hunding - a live recording with Domingo and Polaski under Barenboim with Statskapelle Berlin (on Teldec 3984-23294-2).
Did anyone hear the first item on this morning's Record Review about a new CD of Brahms, Bach, Schumann et al with Itzhak Perlman and Martha Argerich? What little I heard (from Brahms' contribution to the F-A-E Sonata) was stunning and showed that Martha's vitality, vibrancy and electricity as well as sensitivity and imagination remain as much in evidence now that she's 75 (can she really be that?) as when she first burst onto the piano scene around 1960 or so - but Andrew McG referred (as though positively) to a "growling" sound in the lowest octave of the piano and wasn't it sickeningly just! What a recorded let-down to have this thuddy, muddy indistinct sound from a pianist especially iknown for her razor-sharp clarity! I have no idea how it was recorded although I suspect that the piano lid was on short stick, although even that unfortuate circumstance alone could surely not have produced this clodhopping sound that must be entirely unakin to what the pianist actually produced? Mon Dieu!
I found Sarah Lenton's persistent referral to Handel's Alcina as 'a show' terribly annoying! I'm probably being picky, but she continued to apply it to other operas discussed too.
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