BaL 30.12.17 - Mozart: Symphony no. 38 in D, K.504 "Prague"

[ferneyhoughgeliebte]

Every time I play the Piano, I am reminded that the instrument is a member of the Percussion Family

Better than me - I make it sound like a member of the typewriter family!

[Eine Alpensinfonie]

I have - and the conclusion is that they are and it isn't. Why do you think that other people - including both professional and amateur Musicians - find these repeats an important part of their enjoyment of the work?

I certainly wouldn't want to spoil other people's enjoyment. I remember being annoyed when I first followed the score of Mozart 40 at the age of 11, to find that Furtwangler omitted the repeats in the 2nd and 4th movements. But I was soon convinced that he was right, but many others clearly think otherwise.

(I was hoping you'd engage in a discussion of the nature of the D major Tonality in K405, but ... ah well.)

I'm not familiar with these Bach arrangements.

[ferneyhoughgeliebte]

I'm not familiar with these Bach arrangements.

Hmmph! (I have yet to manage the knack of flouncing off whilst my flies are undone.) I meant the Eugarp Symphony, of course.

[Richard Barrett]

Off topic a little, I've just composed the shortest sonata form movement.

That's not a sonata movement, it's a pop song!

[vinteuil]

Hmmph! (I have yet to manage the knack of flouncing off whilst my flies are undone.) I meant the Eugarp Symphony, of course.

... ah, Gnagflow Trazom's Eugarp! A lufrednow krow!



.

[Pulcinella]

... ah, Gnagflow Trazom's Eugarp! A lufrednow krow!



.

This thread seems to have taken a retrograde step!

[Eine Alpensinfonie]

That's not a sonata movement, it's a pop song!

It can't be. It isn't in 4/4 time.

[cloughie]

I am quite unable to play an instrument or (as far as I know, the last, very distant time, I tried) sing. I never sing along to any of the music I listen to (although I'm sure I did, back in the day to Rock and Pop). I can just remember my father attempting to teach me on the piano, but - probably daunted by his own very evident, sight-reading, improvisational, prowess - I was all thumbs and soon gave up. Not that this should necessarily imply any thwarted, or untapped potential. I may (laboriously) fish out some detail from an imslp score (or similar), but if I try to follow one while listening, I always fall hopelessly behind, or get lost. So, somewhat counter-productive.

I often find very (over-)familiar themes from Classical Works forming jazzy, rhythmical, varyingly syncopated improvisations in my head.... a sort of musical doodling, I suppose. Or "Pleasure viewed from the Shores of Boredom", to misuse Roland Barthes. Beyond that dubious revelation, I don't claim any kind of musical creativity, let alone performing ability, at all.

***
I don't ever recall actually regretting my lack of ability to play the piano, or guitar or whatever.... always an adherent of embracing your fate, I concluded that, had I spent more time attempting to perfect, or improve, a practical musical ability, I would never have been able to access and devote my time to all the wonderful music I've spent so many wonderful hours actually listening to.
And I probably wouldn't have become an audiophile either. (Though I could blame Dad's hugely heavy, wooden-cased Akai-4000D, of which he made me the tonmeister of his own recordings, for that... (the early link between impressive engineering and sound....).

On Open Reel, I recorded the Top 40 mostly (Montego Bay, Alright Now, Ride a White Swan...). But I recall an early, fairly successful, effort from Radio 3 with the VPO/Karl Bohm in the Eroica, and thinking: if only my LPs could sound that good....

A very interesting reply and a great demonstration of different approaches to music and how we participate and what we get from it. As I have said before what a very personal thing it is and the degree of importance in our lives.

[french frank]

Just listened to the programme again. I thought the arguments made sense, and he gave brief nods to the early recordings (Schuricht, Kubelik, Walter, von Karajan, Beecham) which were always going to be non-starters. The rest of the time he concentrated on Norrington, Fischer and Jacobs - symphony orchestra, chamber orchestra and period instruments - with single mentions of others, and scads of other 'favourites' that weren't mentioned at all. In the end, with such a vast number available, I suppose the reviewer has to focus on a chosen (very) short list.