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| [#3370] The beautiful soundtrack from Ennio Morric ck : 孤陋寡聞, 未聽過添.... 可否簡介一下? |
lym 正式會員219.xxx.xxx.241 |
2008-01-19 15:54 | |
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| [#3371] Listened to the rehearsal of HKPO Wednesday afternoon I went to Cultural Centre by taking leave and acceptingthe invitation from a friend who is a recording engineer at CCCH to attend the HKPO rehearsal,the first time ever in my life to attend a preliminary concert rehearsal under the baton of Edo De Waart. 8 people of us led by the recording engineer,Raymond, entered into the hall and we were instructed to sit upstair seats. We were allowed to switch our seats at our own wish and I chose to sit in the third row directly facing the stage, I could clearly hear every single detail of the orchestral picture - which was optimal status if our domestic Hi-Fi gear can faithfully reproduce its full details at our home. I finally found that the first and second rows of first left-tier are the best because you could hear more direct instaed of blurred sound from soloist and orchestra without unnecessary reflex sound and additional reverberation. The orchestral piece played yesterday was not my favourite, some kind of atonal and avant-garde sound with the train-whistle-horn effect and drumsets , I still have no idea what kind of music it was until the ending but I guess it should be those neo-classical pieces from America (I was later told by Raymond that it was "Britannia" composed by Macmillian. The second part rehearsal was the well-acclaimed piece - Bruch's Scottish Fantasy, as you should know that Heifetz rendition was the best among various readings, the violin player was a youngster called Wong Muon Lai, his tone was liquid, sweet and technically acceptable, however his coloratura edge was not as good as those maestro. De Waart's working attitude was serious and meticulous, he gave a short and succinct instruction and conveyed his demand without crap, orchestral members can fully respond what the maestro wants no more than three attempts and learnt very quickly. I was absolutely impressed of HKPO's discipline and EDW's lecture, all of them subsequently delivered me a flawless performance in the second session after interbreak. EDW actually sought to optimize the live performance in a pharse by pharse , bar to bar correction, no wonder HKPO improves obviously and deserves our claps after the rehearsal (wow! EDW had a glance of us and showed his rare smile) George |
george1977 正式會員 203.xxx.xxx.105 |
2008-01-19 18:24 |
| [#3372] The beautiful soundtrack from Ennio Morric lym, I can't tell much. 睇戲既人或多或少都睇過Kieslowski導演既紅白藍兩生花十戒等電影/電視作品. (http://www.patoche.org/kieslowski/index.htm). Preisner可以話係Kieslowski既御用composer. 畫面和音樂配合, 感染力相當強. http://www.preisner.com/ |
ck2005 正式會員 203.xxx.xxx.202 |
2008-01-20 01:45 |
| [#3373] Book: The virtuoso conductors Raymond Holden這本書《The Virtuoso Conductors: The Central European Tradition from Wagner to Karajan》，可以在Bookazine架上看到，不知有誰看過？  |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 05:36 |
| [#3374] 弦裂 Some excerpt I found in the self-interview with Karajan's bographer Richard Osborne, extract is derived from the magazine Gramophone January 2008, p.48-49. ro: So a diicult wine to spot in a blind testing? RO: Very. Particularly if you believe in the myth of the Karajan sound - "whipped cream", or "glutinous syrup": the receipes vary. Carlos Kleiber used to get very hot under the collar about this. He said you can only judge Maestro K doing piece X, not Maestro K generally. ro: What was his view of Karajan? RO: Similar to most people's view of Kleiber: that he was a class of his own. He said people were so hung up on the commercial side of Karajan's image, they completely lost sight of his qualities as a musician. --------------------------------------------------- ro: There are 11 chapters in your biography covering the Nazi years 1933-45. Do you think they helped alter perceptions? RO: I very much doubt it. It was an absorbing subject to research and write but it's got very little to do with the journalistic sport of putting musicians centre-stage in the blame game for what went wrong in Germany in the 1930's. ro: There was a recent letter to Gramophone which began"It has become customary to blame Herbert von Karajan for everything from the outbreak of the Second World War..." RO: That was amusing. But there's a bigger point here. One of Karajan's earliest memories was watching the naval convoy carrying the bodies of the assassinated Archduke and his wife to Trieste from Sarajevo in 1914. He lived through two world wars, the Cold War and died just weeks before the fall of the Berlin Wall. He was essentially apolitical but he was always to some extent war-haunted. ro: and this affected his music-making? RO: Profoundly. Many of his greatest orchestral performances were of works that anticipated war or embodied a state of what he called "complete catastrophe" : the Sibelius Fourth. Mahler's Sixth, Berg's Three Orchestral Pieces, Honegger's Liturgique, Shostakovich Tenth. He told his daughter than if he'd been a composer, he would like to have been Shostakovich - he spoke for the age through which both men lived. ro: But he only played the Tenth. RO: He wanted to record the Eighth for EMI but they said it was uncommercial. In any case, he revered Mravinsky's recordings. --------------------------------------------------- ro: Sibelius's music was deeply unfashionable in Germany. But to what extent was Karajan a typical German conductor＞ RO: In some ways, hardly at all. On the only occasion Hitler heard him conduct, he said his Meitersinger was insufficiently "German". Karajan was a Salzburger and like the city's even more famous son he was unusually open to influences from elsewhere, from Italy in particular. I can't think of any conductor from Austro-Germany who was so revered as a conductor of Italian music within Italy.  |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 06:16 |
| [#3375] 弦裂 sorry guys, a minor typo diicult: difficult |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 06:20 |
| [#3376] 弦裂 Another excerpt from an article "A God among conductors" written by Peter Quantrill for Gramophone about Herbert von Karajan, P.38 at Gramophone January 2008. ---------------------------------------------------- His fifth concert with the Philharmnia in London set the tone for the reception of Karajan in English speaking countries. ...... From the same concert The Times already noted the extreme pianissimi that would become one of Karajan's defining characteristics. London audiences had last heard such orchestral virtuosity a decade and more previously in the concerts that the BBC Symphony had given with Arturo Toscanini, who is vital an influence on Karajan's early interpretations and recordings. "Toscanini impressed Karajan for ever." remarks Michel Glotz, Karajan's executive producer from 1969 onwards, "by saying that if you want a real crescendo, you must go from the most pianissimi to the loudest fortississimo." There are Philharmonia recordings that show Karajan learning on the job, creating blueprints for much more finished later readings. One of the most telling indicators of his achievements with the Philharmonia was the Brahms cycle that he prepared , but Toscanini conducted, in 1952. When Toscanini arrived, he found (to his delight) he had little to do but direct: the incandescent results are now on Testament. But in the field of opera, his experience as general music director of the theatres in Ulm and Aachen had furnished him with The Knowledge - of the repertoire and the art of the possible. Hansel and Gretel, Falstaff, Rosenklavier - hardy fruits of the catalogue, all of them, alongside his contemporaneous Milanese collaborations with Maria Callas in Butterfly and Trovatore. He never pretended to the technical know-how of his singers and instrumentalists that many conductors consider obligatory, but his sense of timing, and of a singer's capabilities, enabled him to produce "not one but three or four generations of singers" said Christa Ludwig. "His primary focus was to instruct the orchestral players to listen to the sound of the singers." Nor, for all his enduring fascination with technologies advances, did he delve into the particulars: he left that to the experts. Robert Gooch, one of EMI's first stereo engineers, remembers Karajan staying in the studio while Legge lorded it in the control room, commanding minute adjustments of mircophones and levels that Gooch and his colleagues knew would go unheard. Even 30 years later, his sound engineer at DG, Gunter Hermanns, says it was rare for Karajan to comment on the takes that he, Hermanns, had selected. ----------------------------------------------------  |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 06:54 |
| [#3377] Top 10 Karajan Discs Extracted from P.39 of Gramophone January 2008 - here is Peter Quantrill's favourite 1. Beethoven Symphonies (1962) DG 463088-2GB5 The first and finest of his stereo cycles 2. New Year's Day Concert, 1987 DG 4776336GGP A One-off infused with a lifetime of affection and study 3. Music of the Second Viennese School DG 457760-2GOR Apparently effortless recordings that never lose sight of the cardinal principles behind this "difficult" music 4. Schumann: Symphonies DG 429672-2GSK-2 Still unmatched, especially the second for an overwhelming sense of the composer's concentrated aspiration 5. Huperdinck: Hansel and Gretel EMI 567061-2 Bringing out the best in Karajan the headstrong child. 6. Wagner: Tristand and Isolde EMI 769319-2 Vickers and Karajan, two perfections meeting their match 7. Puccini: Madame Butterfly EMI 556298-2 The conductor ceding the limelight to Callas at her most inward and touching 8. Strauss: Elektra Orefo C298 9221 Another feminine psychodrama playing to Karajan's musical and dramatic preoccupations. 9. Shostakovich: Symphony No 10 DG 439 036-2GHS A faithful, utterly convinced and convincing reading of the composer's most "symphonic" symphony 10. Sibelius Symphonies Nos 4-7 etc DG 457748-2GOR2 The play of time, tempo and texture found their ideal advocate in the solitary thinker and man of nature.  |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 07:23 |
| [#3378] Book: The virtuoso conductors Good morning George1977, I read Holden's book about two years ago, not too long after it had come out. There is a final chapter on Karajan called sometime like 'Das Wunder Karajan'. My recollection is that the book is interesting in anecdotes and, on the whole, balanced in opinion. May read the chapter again to refresh; but I will be out of town for a few days, let me get back to you some time next week. Cheers. |
trollope 正式會員 202.xxx.xxx.133 |
2008-01-20 07:51 |
| [#3379] Book: The virtuoso conductors Good afternoon. The refreshing albeit short voyage on limage's boat not long ago was a nice experience.  |
lym 正式會員 219.xxx.xxx.164 |
2008-01-20 14:23 |
[#3380] Book: The virtuoso conductors  |
lym 正式會員 219.xxx.xxx.164 |
2008-01-20 14:57 |
| [#3381] Top 10 Karajan Discs cat  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:03 |
| [#3382] Top 10 Karajan Discs in1  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:04 |
| [#3383] Top 10 Karajan Discs in2  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:05 |
| [#3384] Top 10 Karajan Discs in3  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:05 |
| [#3385] Top 10 Karajan Discs in4  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:06 |
| [#3386] Top 10 Karajan Discs in5  |
ck2005 正式會員 203.xxx.xxx.182 |
2008-01-20 15:06 |
| [#3387] Listening to Ryuichi Sakamoto latest soundtrack Ryuchi Sakamoto, a well-known soundtrack and avant-garde music (now more electronica)composers from Japan , composes some sort of solitary-haunted works and minimalist music with the inspiration of debusy, takemitsu and satie in the past 2 decades. He is undoubtedly a second-to-none "Debussy of film music" who successfully fuses the classical music and oriental instrumental sound with his own unique trait. An idol who is my favourite soundtrack composer after Ennio Morricone and Nina Rota! His previous orchestral works for cinematic products such as in "Merry Christmas Mr Lawrence" (1983),"The Last Emperor"(1987),High Heels (1991), The sheltering sky (1992), Little Buddha (1993) and Femme Fetale (2002) discard his previously trendy techno-pop image and reinvent himself as a versatile composer in other genres. His new film score in the unreleased film "Silk" sounds as smooth and highly-accomplished as "silk", the theme music was infused with sakamoto's special perfume and stylish oriental tone to tell a story about a French smuggler in 19th century travelling to Japan for his town's supply of silkworms and falling in love with a concubine, the solo theme was immaculately played by Joshua Bell (who played violin solo in "The red violin" before), Bell had done his best to imitate the pipe sound with utter purity and soft tune. As Sakamoto was well-versed of compiling lots of slow-moving mood movements in his previous works, he again inflicts and employs a special combination of strings, piano, harp, brass and eastern percussion to contribute a fuller picturesque moment, some tracks are particularly captivating with some luminous string-writing and interplay of piano and plucked percussion, such like tracks 2, 3 (love theme), 5,10 and 16. All tracks are beautifully played and strung together seamlessly, the mood conveyed by Sakamoto's music is simply effortless with a perfume-like ador.... The following CD is not yet in stock at HMV but I am writing my review on the basis of japanese version! http://www.hmv.co.jp/product/detail/2633783  |
george1977 正式會員 220.xxx.xxx.144 |
2008-01-20 21:57 |
| [#3388] Listening to Ryuichi Sakamoto latest sound ＞＞ lym & 邊個邊個, ＞＞I s Preisner on your list? ＞＞ You just can't miss/resist it! 早晨... ck2005：有機會一定找來聽聽...:-) |
邊個邊個 正式會員 158.xxx.xxx.114 |
2008-01-22 09:27 |
| [#3389] Listening to Ryuichi Sakamoto latest sound 線條明晰，結構嚴謹。 讓音樂自己說話的一個典範。  |
邊個邊個 正式會員 158.xxx.xxx.114 |
2008-01-22 09:45 |
