Britten-fest...the aftermath

[amateur51]

Looking forward already to Fischer-Dieskau's classic recording with Gerald Moore (the earlier EMI version, of course: far too mannered for me in the later DG recording - it didn't turn out nice again) of Mit meinem kleinen stick von Felsen der Schwarzenbad.

And let's not forget de los Angeles' timeless interpretation of Cuando estoy limpiando ventanas

[Richard Barrett]

Mother!

[Serial_Apologist]

Just as well I know a tiny bit of Spanish!

[Andrew Slater]

In the 'aftermath' I have been searching through old CD-Rs of Britten recordings and have come across one of the earliest transfers to CD-R I made. The discs are of Lutoslawski's 3rd Symphony and Piano Concerto, plus Britten's War Requiem. The burn date on the discs is 31 March 1998. The transfer must have been done in a hurry as I did not record the details of the performers or indeed the date(s) of the broadcasts. So, just wondering if any of the true Britten aficionados out there might have some sort of record of performances which took place on, or in the period leading up to 31 March 1998? My usual practice has been to retain the introductory and closing announcements of radio broadcasts I record, but on this occasion, presumably for reasons of space, I omitted such identifiers.

From Radio Times for 30/03/1998 at 1930:

Britten: War Requiem

Eva Urbanova (soprano)
Hans Peter Blochwitz (tenor)
Thomas Hampson (baritone)
BBC Symphony Chorus
St. Florian Choristers
BBC Symphony Orchestra
Andrew Davis

The performance apparently received a ten-minute standing ovation from the audience at the Salzburg Festival. (No date of performance given.)

31/03/1998 at 21:40:

Lutosławski:
Piano Concerto
Symphony No. 3

Martin Roscoe (piano)
BBC Philharmonic
Adrian Leaper

[aka Calum Da Jazbo]

Just as well I know a tiny bit of Spanish!

Herr Wu ist ein Fensterreiniger jetzt

[hmvman]

Looking forward already to Fischer-Dieskau's classic recording with Gerald Moore (the earlier EMI version, of course: far too mannered for me in the later DG recording - it didn't turn out nice again) of Mit meinem kleinen stick von Felsen der Schwarzenbad.

Thanks for that, it cheered up an otherwise pretty c**p day.

…almost literally ROFL

[ferneyhoughgeliebte]

Thanks for that, it cheered up an otherwise pretty c**p day.

…almost literally ROFL

Glad to be of service, hmvman - hope tomorrow's a better one!

[Bryn]

From Radio Times for 30/03/1998 ...

Thank you so much, Andrew. I will label it fully as soon as I get home tonight. Anyone feeling a need to hear it/them, just PM me.

[Flosshilde]

I think he parodied Beethoven sonatas, too.

& jazz, as I pointed out on Calum's thread.

[Rue Dubac]

Of course a parodist must understand the subject of the parody. It's how the very clever Dudley gets it so right, and I am afraid that most of BB's work sounds like that to me, and it seems to go orn and orn. The fraffly accents were most pronounced in the Bridcut film, I admit - sounded like an attack of Brian Sewellitis or the Queen 20 years ago. It had the effect of making the BB crowd seem rather exclusive, archaic and slightly twee. I don't find most classical music people talk like that - those who do Building a Library? The delightful C. Bott? Etc. While on parodies, I was entranced ages ago by Anna Russell's of German Lieder and French mélodie, of both of which genres I am very fond. Unfortunately I do not know DM's Schubert parodies... I can grant BB a few felicities - The Splendour Falls - but I generally find the music unsatisfying. And I do wish he had kept his mitts off The Beggar's Opera and not tried to turn folk songs into pseudo-art songs, draining most of the vitality out of them. No doubt it is my loss, but a whole weekend of it was very trying. As some have said, perhaps there was too much "celebration" and insufficient analysis. I got no idea of why the music is considered so highly.
I agree about marathons - and the rot seems to be spreading to R4 who promise a weekend of "hard-boiled thrillers" fgs - except for the Chopin one a few years ago. I had thought oh dear, a weekend of tinkly-tinkly...can I bear it? In the event I was riveted, because there was so much variety - the sound on different pianos, performers talking with passion, interpretations, less well-known work like songs, etc.

[Ferretfancy]

Of course a parodist must understand the subject of the parody. It's how the very clever Dudley gets it so right, and I am afraid that most of BB's work sounds like that to me, and it seems to go orn and orn. The fraffly accents were most pronounced in the Bridcut film, I admit - sounded like an attack of Brian Sewellitis or the Queen 20 years ago. It had the effect of making the BB crowd seem rather exclusive, archaic and slightly twee. I don't find most classical music people talk like that - those who do Building a Library? The delightful C. Bott? Etc. While on parodies, I was entranced ages ago by Anna Russell's of German Lieder and French mélodie, of both of which genres I am very fond. Unfortunately I do not know DM's Schubert parodies... I can grant BB a few felicities - The Splendour Falls - but I generally find the music unsatisfying. And I do wish he had kept his mitts off The Beggar's Opera and not tried to turn folk songs into pseudo-art songs, draining most of the vitality out of them. No doubt it is my loss, but a whole weekend of it was very trying. As some have said, perhaps there was too much "celebration" and insufficient analysis. I got no idea of why the music is considered so highly.
I agree about marathons - and the rot seems to be spreading to R4 who promise a weekend of "hard-boiled thrillers" fgs - except for the Chopin one a few years ago. I had thought oh dear, a weekend of tinkly-tinkly...can I bear it? In the event I was riveted, because there was so much variety - the sound on different pianos, performers talking with passion, interpretations, less well-known work like songs, etc.

I'm not with you on Britten, but I'll always remember Anna Russell on a singer of French chanson --- " No voice, but tremendous artistry! "

[Mary Chambers]

I simply don't understand why Rue Dubac is so worried about people having 'posh accents' - it's been mentioned twice. Would the music be different if they didn't?

[Stephen Whitaker]

"sounded like an attack of Brian Sewellitis or the Queen 20 years ago."

So, John Bridcut should have dubbed all those historical voices in accents you would be more likely to hear today?

I do not see why a person's voice, a product of their time and place of origin/education, should be reasonable grounds for a critical attack.

We see this all too often when regional non-RP voices are heard on the radio and TV,
it seems even more unfair to attack the ultra RP speakers too.

The implication that some people's voices are unacceptable because they do not sound like 'one of us' or are 'putting it on' ,
is surely the last socially acceptable prejudice.

[ardcarp]

The implication that some people's voices are unacceptable because they do not sound like 'one of us' or are 'putting it on' ,
is surely the last socially acceptable prejudice.

Egg wetter gree.

(Context, anyone?)

[Rue Dubac]

Do you refer to Afferbeck Lauder, Ardcarp?
I don't think I said the accents were unacceptable per se, just the effect they had on my ears. I understand that everyone's accent is the product of their education, time, place and class. I mentioned them in my first post, and tried to explain why in my second: they had the effect of making the speakers sound as if they belonged to an exclusive coterie of admirers. Nothing Bridcut could or should have done. It's how it was. I found it off-putting, but it somehow seemed to go with the music. Anyway, for good reasons or bad, I have not been converted. I wish those who enjoy BB's music may long continue to do so.