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BaL 14.05.22 - Vaughan Williams: Symphony no. 4 in F minor
I think Keraulophone is referring to Jeremy S often stating during his BALs that he’s ‘listened blind’ - Mark Lowther apparently took a leaf from the same book.
Reference has often been made above to the fact that the equivalent French radio programme involves the same approach, with the critics hearing and reacting to the anonymous extracts in real time during the (90 minute) programme… (and no Bordeaux is involved, as far as one can tell )
There are certain moments when you know they've got it right, and others when all of the foregoing and what follows depends on judging these correctly if the whole thing is not to collapse into an ignominious heap. Today on COTW we heard the scherzo and finale as performed by the BBCSO under Brabbins. That final note absolutely has to convey the sound of the trap door slamming forever on Hades, but Brabbins only managed to lower the lid to an unconvincing thud.;
I gave up after hearing the 2nd subject. Lifeless.
Surely the American shock-jock, David Hurwitz, whose credentials as a music critic are severely open to question? All too often a dismissal by him is best taken as an effective recommendation.
Surely the American shock-jock, David Hurwitz, whose credentials as a music critic are severely open to question? All too often a dismissal by him is best taken as an effective recommendation.
Surely the American shock-jock, David Hurwitz, whose credentials as a music critic are severely open to question? All too often a dismissal by him is best taken as an effective recommendation.
I'm not here to defend him. He can do that very well himself. Some people might find his videos full of interesting recommendations.
I'm not here to defend him. He can do that very well himself. Some people might find his videos full of interesting recommendations.
On the subject of RVW Symphony 4, I seriously question whether David Hurwitz has the capacity for listening, as opposed to indulging his habitual Brit-phobic bias. He's wrong in fact to say that the NYPO/Bernstein recording wasn't well-received by UK critics -- The Gramophone review at the time was very complimentary, praising the NYPO's strings "greater sense of line" compared to Boult's NPO in the first movt 2nd subject cantilena, for instance. Having just listened to LPO/Haitink -- & been completely knocked out by it's visceral impact from start to finish, I come to the conclusion that this guy doesn't know what he's talking about.
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