Laura Cantrell’s tribute to Miss Kitty Wells, who died this week, aged 90+. On Cd

Graham

Listening to this late last night on vinyl, a classic IMO

Graham

Vinyl.

Japanese vinyl, sounding fantastic, but musically nowhere near as good as the three studio albums which preceded it:

In honour of Bradley ‘Wiggo’ Wiggins first EVER British cyclist to win the Tour de France 

Graham.

Leon Fleisher - in my opinion, a very noble and heroic musician and human being.  Only four times removed in the line following Beethoven, his teacher was Artur Schnabel, who himself was a student of Theodor Leschetizky, who himself was taught by Carl Czerny, whom, he, of course we know was a star pupil of Beethoven.

Although it was a mystery for nearly 40 years that Fleisher was forced to stop making two-hand music from around 1965 due to an affliction only recently diagnosed as dystonia, which curled the fourth & fifth fingers under of his right hand.

An interesting piece, he recorded here, is the Capriccio in B flat major on the Departure of his Most Beloved Brother, BWV 992 by Johann Sebastian Bach.  It is interesting since, as Fleisher rightly points out, it is the only known instrumental work by Bach that is clearly programmatic.  Along with a specific title and a sentence at the beginning of each movement we have a literary outline as follows:

I) Arioso: Adagio -  Friends gather and try to dissuade him from departing

II) Andante (fugato) -  They picture the dangers which may befall him

III) Adagissimo - The Friends' Lament

IV) Aria Introduction -  Since he cannot be dissuaded, they say farewell

V) Allegro poco: Aria of the postilion

VI) Fugue in Imitation of the Post horn

Many, to this day, still hold on to very strong opinions concerning the conventions, execution and "rules" that confine one to a simplistic or even narrow view of the music of J.S. Bach or Baroque period music itself.  While many points and styles are valid and need to be observed within a tasteful degree of latitude, I personally have to wonder how Bach himself felt about many issues related to music itself?   Behind the mask of his cultural norms of the day and expectations what did the real man personally think about the music he felt within himself?  From my position at the keyboard and just my experience, simply as a listener of his music and based on its effect on me, I believe the we have all the answers we need.  It is self evident.  His music is not emotionally different than any great composer that followed him.

I take the example of Shostakovich, who was forced to comply with the communist mandates and madness.  On the surface, of course, he had to comply and said yes, yes but deep below the surface he found a way to still carry on to attach his personal voice.  Any artist would.  It is their nature and the air they breath to express themselves.  Without it they perish. 

The Baroque era culture famously mandates a culture and society that could not or at least should not show emotion.  Yet I find the music of Bach very emotional.  While many composers over time surely were no more capable of writing Saccharin to begin with, Bach was certainly not one of them.  Everything he wrote breathed life.  

My point is that just as this Capriccio slipped through as a teenage example of Bach demonstrating a rare case of programmatic vision, I would humbly propose that all, or at least a very high percent, of Bach's solo instrument works are programmatic in nature.  In other words, the music has a purpose.  It is about "something" and not merely background "elevator" music.  While Bach did not title any other piece or write programmatic footnotes, his style and other musical choices set the context.  Of course, I am not mentioning his Cantatas and Oratorios etc. since they are obviously programmatic since the music follows text.

Of course, we will never know his exact intention but for me it is good enough to understand that he simply had a contention.  For every individual, the meaning will of course be a personal one but this should not surprise anyone.  All great works of art, literature, or music draw us from our individual worlds to something greater that we just cannot put words to.

Haim, you are right.  It is a rather unconventional cover.  No one that sings Haendel should have a smile on there face - ever!  Clearly inappropriate...

On vinyl. Haven't listened to it for 20-odd years. Sounds a bit dated, both musically and in terms of SQ - couple of good tracks though.

True it sounds dated, but I still think it is a great record - up there with '77. 

All the best, Guy 

'Cos it was a birthday present:

And as good as I remember it.

Then:

steve

Taplow, Maidenhead, Cookham, Marlow, Bray:  lovely ride, lovely weather and a great soundtrack. Then, back to London. Nevermind!

Bruce Hornsby

Bride of the Noisemakers

Hornsby is a superlative concert performer and this 2011 double-length record comes about as close to capturing the experience as one could hope.

1. 21st Century Schizoid Man (7:20)
2. I Talk To The Wind (6:05)
3. Epitaph (8:47)
4. Moonchild (12:11)
5. The Court Of The Crimson King (9:22)

I never seem to have a problem coming across original issues of the album. Have sold 6 so far. Maybe I'm just lucky. Mind you, Naim upgrades aren't cheap  and at £250+ a pop it's not a bad return. Still, will keep that minty copy for oneself.

KR

Tonyy

Tony,

The blank space under my posting included a few words i had to say about it, 

but for some reason unkindly deleted by hoopless

~<>~

My copy from Burning Shed [still available for £18.99]

...and my very first listen to this classic album.

Not as scary as i'd imagined,

i didn't need to hide behind the sofa

Debs

Debs, 

Always been a KC number two fan( I don't want to upset the guy who uses their  album cover as his avatar!) but would never pay premium for their material.

Respect is due and I am the proud owner of KC's almost entire collection on vinyl.

I have collected a lot of  original material throughout my short life span.

KR

Tony

playing CD no.10...

Jean-Philippe Rameau (1683-1764)

Nouvelles Suites de Pièces de clavecin et bain à bulles

~<>~

1957-1967.