What are you listening to and WHY might anyone be interested? (Vol.IX)

That's a lovely disc Haim.

This cover might be one of Andy Warhol's freelance gig.

Love the letter pressed old Columbia covers.

http://www.youtube.com/watch?v=2oVMRADOq5s

Very different and highly recommended.

CSN&Y Deja vu - on vinyl

Prefer vinyl to the HDCD which is too bass heavy/thick

LBS 83295 A ^ 1

LBS 83295 B ^ 1

This is a 1st press.

There is something magical in this music...

Thanks Deb for leading me on to this pianist.
I love his spirited style.

...and I will join you Kuma this morning with this album too.  On of my first three records bought as a child.

Originally Posted by kuma:

Thanks Deb for leading me on to this pianist.
I love his spirited style.

...and I will join you Kuma this morning with this album too.  On of my first three records bought as a child.

The question, Doug, is if you can pronounce his name..

I need some music which reminds me of warm weather so..:

http://www.youtube.com/watch?v=xJQn9sYOPss

 Haim, with a little effort, I might still manage to conquer the name in my lifetime .  To play and really understand music at a level even 1/100th of what the many great artists can achieve, has been and will continue my lifelong challenge.  It is the enjoyment of music, from a young age to the present, that has always been very easy for me, no matter how one pronounces it.

Doug

Since I have now recently had more than enough time in my hands I have also been re-acquainted myself with opera music (not that I ever have known much about it). Last time I listened to these was over twenty years ago. 

Earlier in the week

Franz Konwitschny, Berlin State Opera Chorus and Orchestra, 1960

Hans Hopf, Tannhäuser

Elisabeth Grümmer, Elisabeth

Marianne Schech, Venus

Dietrich Fischer-Dieskau, Wolfram

Gottlob Frick, Landgrave

Fritz Wunderlich, Walther

Today afternoon

Karl Böhm, Bayreuth Festspielhaus orchestra and chorus, 1971

Thomas Stewart, Der Holländer

Gwyneth Jones, Senta

Karl Ridderbusch, Daland

Hermin Esser, Erik

Harald Ek, Der Steuermann

Sieglinde Wagner, Mary

Both are library loan CDs.

I like these quite a lot – enough even to consider booking the ticket to the local opera house which is performing Tristan and Isolde later in spring (also the other thread about Wagner has raised my interest to this).   

Vinyl - what a treat 

(2009 German exclusive limited edition 14-track 2-LP set pressed on 160gram Vinyl, the 12th studio longplayer from Boris Blank and Dieter Meier, their 1st since 2003's 'The Eye', presented in sealed gatefold sleeve).

Claude Debussy:  Alexei Lubimov (Piano)

Préludes, Book 1 

Préludes, Book 2

Nocturnes (3) for Orchestra (2nd piano Alexei Zuev)

Prélude à l'après-midi d'un faune (1st piano Alexei Zuev)

Lubimov on the 1913 Steinway with Alexei Zuev overlooking:

For Book 2, Lubimov leaves the 1925 Bechstein and uses the 1913 Steinway for its altogether different and unique characteristics.  A piano Lumimov noted as being divinely soft in pianissimo, resonant and marvellously suitable for unexpected colours.  

I think Lubimov is incredibly astute in his musical decisions and his drive to come as close as possible to the composers intentions.  Notice how the score of Brouillards below starts out as "pp" or pianissimo (which is an Italian term which means very soft) with only small inflections occasionally.  In addition, occasionally Debussy instructs "piu pp" which means or stresses to be even more soft than very soft.  In the entire score he only allows rises to "p" or piano which means gently or soft three times and then only for one bar length each time.  In two of those times it then rises to "f" or forte which is loud (but not very loud).

The point is that the overall effect of this piece is lost if you get too loud.  It should never be loud and plodding.  It should feel like or give a sense of mist or fog (Brouillards) - maybe someone French speaking could help me here if I'm wrong.  I can't relate to loud fog - it is naturally soft.

I've been thinking about dynamics in music lately and how they relate to recordings.  Can true dynamics be achieved?  Is Michelangeli and others really playing pianissimo?  How does or can a recording reflect a true pianissimo and how can you really hear the small contrasts between the dynamics of a great player?  Maybe it also extends to live performances too where you might just be experiencing various levels of very loud competing with each other.  In today's world sex sells and in the same way in music, loud and fast (and sex) sells.

Maybe nothing ever changes.  Chopin once said, "All the same it is being said everywhere that I played too softly, or rather, too delicately for people used to the piano-pounding of the artists here."  I'm paraphrasing but I remember reading years ago someone recounting how Chopin played the piano and they said it was as if he could achieve 1000 different levels of variation within each dynamic level such as piano or pianissimo or forte etc.  This is a remarkable skill that most mere mortals could never achieve (as a player or listener).

Reminded by the post from Blueknowz: That I have not played this fantastic album for sometime.

Also on vinyl.

Graham.

Reissued Vinyl.

Measured against masterpieces like Moondance, Tupelo Honey and Poetic Champions Compose, it’s not amongst his absolute best, but by any other standard it’s a great album

Graham

Poetic champions compose (1987) [VINYL] Why, Its Just Sublime. 

Graham.

Thank you, Steve.

Mine is a later pressing A/B-1G.  I also have a 1st pressing  of Split.

LBS 83401 A-1U/B-1U in mint condition.

Thanks, again.

Tony