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| [#4978] Mozart Piano Sonatas A real bargain: Philips set.  |
classicalkan 正式會員222.xxx.xxx.123 |
2005-12-06 22:35 | |
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| [#4979] Mozart Piano Sonatas Hi gs, On Philips, Mitsuko Uchida 內田光子 seldom disappoints, although I find her occasionally too modern, or too self-conscious. Absolutely beautiful recording. Maria Joao Pires' set is similiar in approach, perhaps a shade less enticing, but very stylish. Also superb in sound. This DG set is more expensive than the Philips box. The EMI set by Daniel Darenboim is slightly less wondrous in sound. But the playing is quite charming. My advice is to invest in selections only, like this one: Mozart: Piano Sonatas Nos. 8, 11, 16, & 17, K.545, K.310, K.331, & K.576 Daniel Barenboim [1984-1985] EMI (La voix de son maitre) 5 62931 2: DDD 2004 My all time favorite is Christiph Eschenbach's 5-CD DG set. Sounds straightforward in the first few minutes, but one would be grateful for his calm and collected style. We don't need Mozart sonatas to be too smart, do we? If you don't confine to box-sets, there are many other good CDs. But to invest in a box-set of these 18 sonatas is one of the nicest things we can do to our souls. |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-06 22:44 |
| [#4980] Mozart Piano Sonatas Hi Trollpe, Trazom, BilDub and All friends, Return from 上海 late last night, 天氣很冷. Sunday evening: 1 ℃ Monday afternoon: -1 (or -2 ?? ) ℃ , water in the fountain is freezing. 往上海浦東國際機的磁懸浮列車好快, 最高運行速度為每小時430公裡  |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-06 23:24 |
| [#4981] Mozart Piano Sonatas 西湖景色很美 If you are interested, there are a few more pictures http://photobucket.com/albums/d137/erictang2006/  |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-06 23:25 |
| [#4982] Mozart Piano Sonatas Thanks Trollope for about 1. the book shop in MongKok 2. Score 3. the reading on Goldberg played by Ralph Kirkpatrick on the harpsichord |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-06 23:30 |
| [#4983] Mozart Piano Sonatas Listen to bit of a cello piece in radio 4 this morning at ~11:30 this morning, is it Chopin Cello Sonata? Does anyone know who are the performers? Thanks in advance. |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-06 23:34 |
| [#4984] Mozart Piano Sonatas ...  |
trazom 正式會員 203.xxx.xxx.76 |
2005-12-07 00:10 |
| [#4985] Mozart Piano Sonatas "We don't need Mozart sonatas to be too smart, do we?" That's sweet! :-) I concur the Eschenbach is a good bet. Very underestimated pianist, who is also a very good conductor. Another pianist in the same vein is Ingrid Haebler. The Philips set is very good. Though some may find her a bit sedate at times, the Mozart style is impeccable. |
doctorjohn 正式會員 219.xxx.xxx.87 |
2005-12-07 10:45 |
| [#4986] Leonore 1-3 Hi DilDub, A recent CD (released 1996) with all three of them: Chamber Orchestra of Europe / Nikolaus Harnoncourt |
trollope 正式會員 147.xxx.xxx.130 |
2005-12-07 13:56 |
| [#4987] Leonore 1-3 Thanks Trollope! I like No.3. Erictang, welcome back. I was also amazed by the 磁懸浮. Very modern technology. In fact everytime I go to Shanghai I take it. Below is the ticket : ) Have you been to Pudong? I found it amazing. 如白先勇先生所寫的十里洋場. There is a jazz band at 和平飯店. All the members have been in WWII.  |
BilDub 正式會員 202.xxx.xxx.226 |
2005-12-07 14:18 |
| [#4988] Mozart's Piano Sonatas I forgot to mention another cycle which I have enjoyed listening to very much. 音色甚美而不失端正溫厚，不生新，亦不陳熟： Alicia de Larrocha (RCA Read Seal) |
trollope 正式會員 147.xxx.xxx.130 |
2005-12-07 14:24 |
| [#4989] Mozart's Piano Sonatas Hi erictang, nice to have you back. Nice photos in photobucket. |
trollope 正式會員 147.xxx.xxx.130 |
2005-12-07 14:27 |
| [#4990] 上海 I have a question after a little research in internet: 十里洋場, is it 各國列強進駐上海的殘存文化? http://www.china.org.cn/ChinaToday/Today/ChinaToday/ct98c/98-1-4.html |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-07 22:09 |
| [#4991] Liszt's concertos + Richter An A-B-C blind test of their recorded sound. A: Nice cover photo, isn't it? And quite rare now too. But I tell you, it sounds boxed-up. The recordings are deprived any hint of intensity. A terrible transfer. Weighty without being transparent. Of historical value, certainly; musical value? Certainly not.  |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-07 22:25 |
| [#4992] Liszt's concertos + Richter B (PHCP-20363): Biggest strength: background noise substantially suppressed. Perhaps for the same reason, it sounds refined. Some may find it too subdued. But I like it for its being clean and atmospheric. Playing time: 39'18 only. C (464 710-2): Background hiss is higher than the Japanese edition. But you have to turn your volume quite high to notice it. So, not to worry. What you gain is bold and spacious sound, which suits the music well. And this rawness somehow reflects the mark of the Richter sound in the early 1960s: "look, I am coming out of my corner to fight." And with the generous fill-ups of Beethoven's Piano Sonatas Nos. 10, 19, & 20, and sold at about half the price of "B", the Philips "50" from Germany is good value for money. Playing time: 70'09.  |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-07 22:28 |
| [#4993] Liszt's concertos + Richter A (412 006-2) |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-07 22:39 |
| [#4994] Liszt's concertos + Richter Hi Trollope How do you compare this two recordings of Richter? Prokofiev Piano concerto no. 5 London Symhony Orchestra Lorin Maazel EMI 5 68637 double fforte I have this one. Prokofiev Piano concerto no. 5 Warsaw philiharmonic Orchestra S. Wislocki DG 4151192 Should I buy this "one" ?? since I have his Richmaninov already DG447420-2) |
trazom 正式會員 218.xxx.xxx.206 |
2005-12-07 22:59 |
| [#4995] Rachmaninov Piano concerto No.2 Listen to these two Rachmaninov Piano Concerto No.2 today. I prefer the young Ashkenazy one for its interpretation (soloist & orchestra) and recording. Ashkenazy / Haitink / Concertgebouw Orchestra, recorded in 1984 Ashkenazy / Kondrashin / Moscow Philharmonic Orchestra, recorded in 1963 (??)  |
erictang 正式會員 219.xxx.xxx.72 |
2005-12-07 23:47 |
| [#4996] Prokofiev's 5th concerto Hi trazom, The one with LSO and Maazel was recorded in Kingsway Hall in 1970, twelve years after the Warsaw recording with Rowicki. It's easy to tell which has the better sound to offer. I have to re-listen to these two versions to say which is definitely a superior performance. But Richter seems to enjoy Rowicki's company very much. Their partnership in the Schumann concerto (DG "Originals") is a great success. Maazel's claim, mainly, is that he was at the peak of his career, in Europe. Bear in mind also that a year earlier (1969), Maazel worked with Richter to offer us a beautiful Brahms' 2nd concerto. Now, you are asking the opinion of a staunch Richter fan, so you can expect me to recommend the Rowicki too. To avoid duplication, buy another DG which couples this work with the 8th sonata and some Visions fugitives by the same composer: 449 744-2 in the "Originals" series. |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-07 23:59 |
| [#4997] On Celi -- take the lid off a can of worms This is in response to an inquiry by 風鳴 in the thread 書房讚嘆區. As this has more to do with classical music than opinions on books, I am doing the posting here. It is an account of Celibidache's career and an evaluation (rather harsh) of it. Here we go: Admirers of the Romanian iconoclast Sergiù Celibidache revere him as an idiosyncratic idealist, almost a musical saint. "Celi" has certainly bucked the system, but doubts remain about his motivation. A music and philosophy student in Berlin in the last years of the Reich, he became last-ditch conductor of the Philharmonic when a wayward sentry shot and killed its interim leader, the unfortunate Leo Borchard; months earlier, the orchestra had called him a "filthy Romanian". An untainted neutral citizen, Celi held the reins until Furtwängler was allowed back and worked harmoniously with him up to his death. "I didn't want to be Furtwängler's successor," he has insisted, "no-one could be." But when Berlin voted overwhelmingly for Herbert von Karajan, he announced a lifelong boycott of the Philharmonic and vanished from public life for seven years. Through a German guru he had become a Zen Buddhist and, in the years of his disappearance, is alleged to have scoured the orient in search of eternal truth. This mystique is somewhat dispelled by the facts of his continuing work with a south-west German orchestra and an Israeli ensemble in Haifa, and a tour he undertook in Latin America. He had to eat, after all. He returned to routine as conductor of the Swedish Radio Orchestra in 1961. As the odious Wall went up in Berlin, he launched a fierce attack on West German society in a Danish paper and provocatively began collaborating with the Communist authorities in East Germany. He eventually came to terms with western materialism and returned to the federal Republic to take on orchestras in Stuttgart, Bamberg and, finally, Munich Philharmonic which he made into an impressive instrument. He demanded huge fees and extravagant rehearsals, adopted expansive tempi and produced remarkably delicate textures. Other orchestras would book him as a tonic against routine playing but his conduct was ever unpredictable and the LSO dropped him smartly after he bawled out their wind-players in front of TV cameras. He loves television and his Munich concerts are among the most widely screened in Europe. The cult of Celibidache is founded on his romantic peregrinations – the middle syllables of his name have justifiably libidinous connotations – and his absolute refusal after 1950 to make commercial recordings. He abhors discs as ersatz obscenities and said listening to them is like fornicating with a photograph of Brigitte Bardot. Pirate tapes of his concerts fetch black-market prices and their scarcity has helped fuel his celebrity, particularly in the United States, where he did not appear until 1983. The advent of video brought a change in his attitude. Celibidache filmed Bruckner's fourth symphony for release on Laserdisc, on condition that there would be no separate audio record. This curious distinction undermined his previous stance: if a record is a poor substitute for the excitement and high frequencies of live performance, the video is infinitely less satisfactory, with its artificial lighting, distorted camera angles and relentless focus on the movements of the conductor. That did not bother Celibidache. He despised records, its seems, not for their ersatz quality but because they concealed the soundless personality of the conductor – and he never wanted to be anonymous. Some worship him as a Furtwängler-figure but the truth about Celi is less unsullied. He is a showman, plain and simple, with an eccentric, though effective, mode of self-projection. ---- Norman Lebrecht, "The Maestro Myth: Great Conductors in Pursuit of Power" (1991) |
trollope 正式會員 202.xxx.xxx.247 |
2005-12-08 00:25 |
