BaL 12.1.19 - Prokofiev: Violin concerto 1 in D

[MickyD]

Then we heard the downside in the news that followed the programme, 1 in 10 'classical' streamings were of Einaudi.

Oh dear, I confess I have no idea who this is. Is that good or bad?

[teamsaint]

Oh dear, I confess I have no idea who this is. Is that good or bad?

Doesn’t really matter, it is money going into the industry that will help fund new projects.

[Barbirollians]

What artists though. Frang and Sondergard!

I think that Frang is one of the top few violinists playing nowadays. I bought this recording (with its outstanding coupling) and since then she has become one of those artists whose records I just buy without bothering with any reviews . I have seen her play both the Elgar and Britten concertos outstandingly in concert.

A worthy winner.

[Beef Oven!]

........ I just buy without bothering with any reviews.

You must try to make that the rule, rather than the exception - reviews are a very secondary and marginal consideration ..............

[teamsaint]

KM does seem to be almost unavoidable on R3 these days, ( must be on wages) , and I’m not the biggest fan of her presentation style, but I though this was a very good BaL, well researched, opinionated in a good way, and drawing us in with enthusiasm and knowledge. And I enjoyed the historical perspectives.

[ferneyhoughgeliebte]

Doesn’t really matter, it is money going into the industry that will help fund new projects.

And we mustn't get confuded with Giulio Einaudi, the Turin publisher (of the works of, among others, Primo Levi and Italo Calvino).

[antongould]

KM does seem to be almost unavoidable on R3 these days, ( must be on wages) , and I’m not the biggest fan of her presentation style, but I though this was a very good BaL, well researched, opinionated in a good way, and drawing us in with enthusiasm and knowledge. And I enjoyed the historical perspectives.

I agree ts ..... IMVVHO she did very, very well and I really enjoyed it .......

[ferneyhoughgeliebte]

Ms Molleson introduces tonight's Hear & Now in an hour-and-a-half; topping and tailing today's R3 listening for me.

[Beef Oven!]

And we mustn't get confuded with Giulio Einaudi, the Turin publisher (of the works of, among others, Primo Levi and Italo Calvino).

I hate getting confuded.

[Bryn]

I hate getting confuded.

Confound you!

[ferneyhoughgeliebte]

Con ("with") + fude (from Latin "a quarrelsome family").

[Maclintick]

You must try to make that the rule, rather than the exception - reviews are a very secondary and marginal consideration ..............

Absolutely agree. But, Beefo, pace Kate Molleson's well-argued advocacy of Frang & Zimmermann, who are excellent in very different ways, your admiration for KWC hits a chord here, despite KM's unexplained strictures of narcissism (?) . In the early 70s, partnered by AP & the LSO, & presented in classic Decca/Kingsway Hall sound, KWC, a pupil of Szigeti -- one of SP's early adopters, after all -- had a hotline to whatever makes this bridge between romanticism & modernity the miracle it is. Like Pastoralguy & Ed I wore out my old LP of Stern/Philadelphia/Ormandy, & wouldn't part with Oistrakh/LSO/Matacic, but KWC rivals the Big Man from Odessa (& Stern) while AP & the 70's LSO have everything in the locker, so to speak, which neither Søndergård's WDR nor Maazel's BPO do -- listen to the FPZ/Maazel finale, where the bassoonist, who after all has the big tune at the start of the movement, gets carried away later on...either that or the engineer has fallen asleep & inadvertently turned up the bassoon microphone to 11...

[cloughie]

Then we heard the downside in the news that followed the programme, 1 in 10 'classical' streamings were of Einaudi.

...and probaly nearly as many were Russell Watson!

[cloughie]

Absolutely agree. But, Beefo, pace Kate Molleson's well-argued advocacy of Frang & Zimmermann, who are excellent in very different ways, your admiration for KWC hits a chord here, despite KM's unexplained strictures of narcissism (?) . In the early 70s, partnered by AP & the LSO, & presented in classic Decca/Kingsway Hall sound, KWC, a pupil of Szigeti -- one of SP's early adopters, after all -- had a hotline to whatever makes this bridge between romanticism & modernity the miracle it is. Like Pastoralguy & Ed I wore out my old LP of Stern/Philadelphia/Ormandy, & wouldn't part with Oistrakh/LSO/Matacic, but KWC rivals the Big Man from Odessa (& Stern) while AP & the 70's LSO have everything in the locker, so to speak, which neither Søndergård's WDR nor Maazel's BPO do -- listen to the FPZ/Maazel finale, where the bassoonist, who after all has the big tune at the start of the movement, gets carried away later on...either that or the engineer has fallen asleep & inadvertently turned up the bassoon microphone to 11...

Whatever happened to KWC’s recording career - it seemed to disappear in the early 90s!

[Bryn]

Whatever happened to KWC’s recording career - it seemed to disappear in the early 90s!

https://www.telegraph.co.uk/culture/music/classicalmusic/11259733/Injured-violinist-spent-10-years-playing-music-in-her-head.html

I'm not sure when it was recorded but her Brahms Violin Concerto with Rattle was issued in 2001 on EMI. There was also a couple of other releases prior to her injury, I think.