Originally posted by Bryn
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What Classical Music Are You listening to Now? III
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Originally posted by Bryn View PostAs to the flexible time brackets, the acoustic space and its reverberative properties may well play their part in a musician's particular response to them, no?
I guess that is part of it. By the way, not flexible time brackets but random processes to determine pitch, duration etc, one of the most beautiful and moving Cage performances I know is this
Last edited by Mandryka; 08-06-22, 16:51.
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Originally posted by Mandryka View PostI guess that is part of it. By the way, not flexible time brackets but random processes to determine pitch, duration etc, one of the most beautiful and moving Cage performances I know is this
https://open.spotify.com/track/6QtRH...186b1322de44eb
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Beethoven. ‘Cello sonatas.
Alisa Weilerstein, ‘cello. Inon Barnatan, piano.
At long last, these have arrived although, having purchased these discs from PRESTO, I’ve been listening to them on my distinctly low-Fi mobile ‘phone on the PRESTO app. The cd release was put back a month and delivery was delayed owing to the Thursday and Friday bank holidays but they are finally here!
Wonderful playing from Ms. Weilerstein, an artist I very much admire. So nice to finally hear this on the big Hi-Fi where her range of colours can be appreciated.
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Originally posted by Mandryka View Postwhat is it which determines how long a performer sustains a sound if it is not a sense of expression, the mood created by the music?
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Originally posted by RichardB View PostOn the few occasions when I've performed Cage's Four6, I've tried to concentrate on not listening to what the other performers are doing or how my next sound might relate to them, not entering or leaving at what I might imagine to be the "right moment" but trying to make those moments as "accidental" as possible. I guess that might be characterised as being "expressive" on some level, but the intention is to "let the sounds be themselves" by entering a meditative state where "mood" isn't a relevant parameter.
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Originally posted by pastoralguy View PostBeethoven. ‘Cello sonatas.
Alisa Weilerstein, ‘cello. Inon Barnatan, piano.
At long last, these have arrived although, having purchased these discs from PRESTO, I’ve been listening to them on my distinctly low-Fi mobile ‘phone on the PRESTO app. The cd release was put back a month and delivery was delayed owing to the Thursday and Friday bank holidays but they are finally here!
Wonderful playing from Ms. Weilerstein, an artist I very much admire. So nice to finally hear this on the big Hi-Fi where her range of colours can be appreciated.
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Originally posted by Bryn View PostThe principal role, surely? Beethoven named them as sonatas for piano and cello, did he not?
(I) they were the first with fully written out piano parts, i.e. not continuo sketches;
(II) their cello parts were independent of the continuo’s bass line.
Piano and cello may not have been equal but both were given elements of U.D.I..
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Originally posted by edashtav View PostYes, but… surely the first two Beethoven Cello Sonatas are revolutionary in two senses, Bryn:
(I) they were the first with fully written out piano parts, i.e. not continuo sketches;
(II) their cello parts were independent of the continuo’s bass line.
Piano and cello may not have been equal but both were given elements of U.D.I..
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Originally posted by edashtav View Post(I) they were the first with fully written out piano parts, i.e. not continuo sketches;
(II) their cello parts were independent of the continuo’s bass line.
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I've finally got hold of Steven Osbourne's recording of Liszt's Harmonies Poetiques et Religieuses on Hyperion (it was on their "Bargins" list) so I hope to give that a spin at the weekend. Also got volume 14 of the Romantic Violin concerto series with Glazunov and Schoeck (who I've never heard of) so if I can listen to both, that would be great.Best regards,
Jonathan
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