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Vaughan Williams - Piano Concerto
Elgar - Symphony No 2
Ireland - Cello Sonata
Rubbra - Symphony No 6
Howells - Piano Quartet
Finzi - Clarinet Concerto
Weinberg - Piano Sonata No 2
Mendelssohn - String Quartet No 6
Beethoven - Piano Sonata No 23
Mozart - Divertimento K563 2nd movement
The Tempesta di Mare Chamber Players perform the Chaconne "Modéré" from the 6th Nouveau Quatuor, also known as the 12th Paris Quartet, in E minor, by Georg P...
Beethoven Violin Concerto - the Larghetto - and my favourite recording would be the 1961 Alfredo Campoli, for the bel canto you just never hear any more Don't care how many stars or rosettes it's got it's pure schmaltz, and anyway I have a sneaking suspicion it might just be coming back into fashion.
Vaughan Williams - Piano Concerto
Elgar - Symphony No 2
Ireland - Cello Sonata
Rubbra - Symphony No 6
Howells - Piano Quartet
Finzi - Clarinet Concerto Weinberg - Piano Sonata No 2
Mendelssohn - String Quartet No 6
Beethoven - Piano Sonata No 23
Mozart - Divertimento K563 2nd movement
... as long as they're played in context; i.e. not in Breakfast/EC/In Tune/Saturday Classics/The Choir style.
... ain't that quite the point, though - we shdn't be indulging in such 'bleedin' chunks' exercises if our higher view is that it is the Complete Work that matters for us (tho' with applause between movements as appropriate... )
(tho' with applause between movements as appropriate... )
Having composed six symphonies, Sibelius finally found the solution to the issue of clapping between movements. That said (and apologies for the brief diversion from the topic), has anyone any thoughts about the extent to which such applause seems predominantly to affect performances of orchestral works but is far less of an issue in performances of chamber works?
Having composed six symphonies, Sibelius finally found the solution to the issue of clapping between movements. That said (and apologies for the brief diversion from the topic), has anyone any thoughts about the extent to which such applause seems predominantly to affect performances of orchestral works but is far less of an issue in performances of chamber works?
Different audiences? Chamber music a bit more 'niche', less populist and not so subject to uninhibited listeners?
... ain't that quite the point, though - we shdn't be indulging in such 'bleedin' chunks' exercises if our higher view is that it is the Complete Work that matters for us (tho' with applause between movements as appropriate... )
.
Doesn't need to be bleeding chunks, I think icing on the cake is a much nicer way of considering the topic. There are those who would strip off the icing and leave the cake, but generally it's all consumed together, and may lift the good into the exceptional.
Having composed six symphonies, Sibelius finally found the solution to the issue of clapping between movements. That said (and apologies for the brief diversion from the topic), has anyone any thoughts about the extent to which such applause seems predominantly to affect performances of orchestral works but is far less of an issue in performances of chamber works?
Having composed six symphonies, Sibelius finally found the solution to the issue of clapping between movements.
I think Mendelssohn had already done that in his Violin Concerto.
That said (and apologies for the brief diversion from the topic), has anyone any thoughts about the extent to which such applause seems predominantly to affect performances of orchestral works but is far less of an issue in performances of chamber works?
No, it's just an issue in the Royal Albert Hall from mid-July to early September. The audience members concerned are perhaps avid listeners to CFM and R3 mornings, and think all musical compositions are single movement works.
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