Originally posted by Nick Armstrong
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Record Review: non-BaL discs reviewed, etc.
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I notice that the forthcoming ‘special’ RR (10 September) is described in the new Radio Times as heralding the “relaunch” of the programme. Given R3’s recent track-record, I wonder if we should be afraid… Building a Library reduced to 20 minutes anyone?
Time will tell…."...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..."
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Hmm, yes, one tends to be suspicious these days. At least it still says 'classical music releases', though the rubric for BaL says 'how to start building a library' as if it's going back to lesson one for new kids.
Maybe I'm being cynical, having Built two Libraries, inthe 1960s/70s and again on CD in the '90s.
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Originally posted by smittims View PostHmm, yes, one tends to be suspicious these days. At least it still says 'classical music releases', though the rubric for BaL says 'how to start building a library' as if it's going back to lesson one for new kids.
Maybe I'm being cynical, having Built two Libraries, inthe 1960s/70s and again on CD in the '90s.
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It seems that BaL is being moved to 10.30am from the 17th September, with the 9.30am slot being taken up by a guest choosing some new releases.
17/09:
9.30 am
Violinist, Tasmin Little, discusses with Andrew some new releases that have caught her attention, including chamber music by Vaughan Williams, Ravel, Brahms and Rachmaninov; and she shares a special track that means a lot to her and which she has regularly On Repeat.
10.30 am
Building a Library
Allyson Devenish chooses her favourite recording of Schubert's Piano Trio No 1 in B flat, D.898
9.30 am
This week's guest chooses their pick of new releases, as well as the track which they have regularly On Repeat.
10.30 am
Building a Library
Nigel Simeone with his pick of recordings of Johann Strauss II's Die Fledermaus.
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Originally posted by Andrew Slater View Post"I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square."
Lady Bracknell The importance of Being Earnest
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Ah yes, cloughie, I admit to buying CDs of recordings I had on LP, often years after giving away five-sixths of my LP collection , and many had the little reproduction of the original sleeve on the front. And now I've returned to the Gramophone I have even bought some of those LPs again. My father, a sworn enemy of consumerism, would have shaken his head in dispair.
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I tuned in a little before 10 o'clock this morning to hear Kate Kennedy and Andrew McGregor uttering the most bizarre twaddle about the recording process used for the new Elschenbroich/Grynyuk Brahms Cello Sonatas CD/digital download. All that bogus fuss about it originating in a reel-to-reel analogue master and edit, supposedly because the performers did not want the intervention of a 'computer'. Yet they finally dumped the result to the digital domain and not analogue vinyl. Just how ignorant of the relative merits and demerits of the analogue and digital recording and editing processes are the two pairs? It was laughable enough that the performers took the ignorant stance they did but to have Kennedy and McGregor going alone with their bogus contentions was, frankly, a disgrace. Then, to top it all, we just had Seckerson recycling his evidence-free story about a mysterious, unreproduced handbill claiming a Mahler re-ordering of the middle movements of his 6th back o scherzo-andante. What has Record Review come to? Yes, I know that Mahler's 6th does not fit the title of this thread but I heard Seckerson's recycled comment as I was typing.
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Originally posted by Bryn View PostI tuned in a little before 10 o'clock this morning to hear Kate Kennedy and Andrew McGregor uttering the most bizarre twaddle about the recording process used for the new Elschenbroich/Grynyuk Brahms Cello Sonatas CD/digital download. All that bogus fuss about it originating in a reel-to-reel analogue master and edit, supposedly because the performers did not want the intervention of a 'computer'. Yet they finally dumped the result to the digital domain and not analogue vinyl. Just how ignorant of the relative merits and demerits of the analogue and digital recording and editing processes are the two pairs? It was laughable enough that the performers took the ignorant stance they did but to have Kennedy and McGregor going alone with their bogus contentions was, frankly, a disgrace. Then, to top it all, we just had Seckerson recycling his evidence-free story about a mysterious, unreproduced handbill claiming a Mahler re-ordering of the middle movements of his 6th back o scherzo-andante. What has Record Review come to? Yes, I know that Mahler's 6th does not fit the title of this thread but I heard Seckerson's recycled comment as I was typing.
(**) Quote: "at no point in the process was the wave translated into digits, ones and zeroes"...
I was going to suggest listening to this on Qobuz and hearing what others think of the sound balance (I'll reserve judgement for now)...
So - come on, lets hear a few other views on it.....and (saying exactly which carrier you listen to) comment back here later....
Last edited by jayne lee wilson; 07-01-23, 21:40.
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Originally posted by Barbirollians View Post
I can imagine a handbill mistakenly referring to the originally published score but even in those days I suspect it might have been quite a story had Mahler in performance reverted to the Scherzo-Andante order .o
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Originally posted by Bryn View PostQuite. For Seckerson to keep churning out this story without even having seen the supposed handbill looks, at the very least, like carelessness. Your point about the possibility of a handbill mistakenly taking the movement order from the originally published score (sans erratum) is well taken but we only have Seckerson's hearsay to go on. Having gone to the effort of getting the printers to issue an erratum, it seems most unlikely that Mahler might just switch back without further notifying his publishers.
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