What are you listening to? (Vol VII)

Hi Denis

I listened to this last weekend after you posted about it and I enjoyed it very much.  It is on my Spotify so will be going for more soon.  As always, thanks.

Jeff A

So Old Mister Crow, hope you enjoyed the Kempff.  In the last two days I have continued my survey with more random selections in addition to the Kempff (Gilels, A, Fischer, Brendel, Kovacevich, Olhsson, Lortie, Lewis).   

I'm far from done but I have learnt a few things or should I say I have to admit how complicated things can be.  First complication for me is due to whole subjectivity of music listening and how we may tend to prefer an artist (and composer) that simply matches our own personality the closest.  The second has to do with age and how one thinks differently at different stages of life.

There are artists that match my own personal expectations and personality whom I tend to gravitate toward and there are other who are the polar opposite.  But this is not a static outcome but rather slowly evolves along with me.  Then there are those that may be in between where some things match expectations harmoniously and other things cause tension or dislike.  I guess I'm picking close friends, casual acquaintances and also determining whom I know we would fight over everything about and best not get together too often.  

Wilhelm Kempff is a pianist whom I rate very highly and that I have so many reference standards that I have framed in my mind as to how it should go.  Yet I discovered last night that parts of the Op. 110 simply do not match what I expect or want.  In particular, (and it is such an innocuous, harmless thing) the Adagio and Fuga section is played much too fast for me and this just removes all of the gravity and depth.  I'm judging this all on one aspect out of dozens.  So many other things are done to perfection.  I've found that more than half of the players I've listened to opt for clipping along too.  In fact some booklet notes state clearly that it shouldn't be played too slowly.  Technically I could very well be plain out to lunch but I have to stick with my convictions on this.  Here is where the different stages of life also come in to play.  Twenty years ago I know I would have had different expectations from this Sonata.

Part of the enjoyment for me is discovering what could be the intentions of the composer.  What are they trying to relate to us?  The only clue for this is to stake your ground on how you interpret the score and any historically relevant details that might affect the outcome.  One extreme is to simply play the notes faithfully without really trying to inject meaning into them.  Then the other extreme is to start with a story text (based on reading the clues) and try to create the drama musically so it is clear what the plot is.  Over the years I've learned to understand which way artists tend to favour and then select my listening based on my current mood.

What is also interesting overall is how it seems the last three piano sonatas (Op. 109, 110, 111) are so different yet so interrelated in so many ways.  Each draw upon motivic sets of thirds and fourths.  Material from one is quoted in another but in a transformed state.  I can see why many record the final three sonatas all together as a set.

I never could do this but it is definitely hopeless now, for me to ever say so and so is the best in the 32 Sonatas and this guy is second best etc.  I may like this guy doing this sonata and that guy doing another and even may like someone for a particular movement or phrase only.  The truth probably lies in the middle or comes from the amalgamation of the many views together.

Apologies for deliberating here over this but this is what I am listening to with just a little bit too much of the why added in.  It just happens to be one of those times where lots of thoughts and ideas about music are going through my head.  I know it is a transitional time where I will solidify my views and take another step in a certain direction.  More than ever I am realizing that with most composers the score is more than just a collection of notes.  It is the window into there soul.  

Regards,

Doug

Dead Can Dance - Aion

Really can't understand how I missed this group, and have only just caught up. I must admit to not buying a lot of stuff in the '80s, still I know better now.

Only caught on to these guys about a year ago Howard, and am really glad I did.   Not a big goth/trance/whatever guy, and was likely put off by how their music was categorized.   Really beautiful stuff IMO.  I think it crosses a lot of genre boundaries.   

Recently won (and looking forward to delivery of) an ebay auction for the Japanese MFSL SACD of "Toward The Within", their live album -- one of my favs.

Hook

Just watched the AC/DC the Bonn Scott years DVD, and now:-

On re-issue vinyl

Another one from 1966

Sometimes only ZZ Top will do.

Or Lynyrd Skynyrd...

On CD:-

This is a great 7 CD set of Django's classic recordings with the Quintet of the Hot Club of France, and can be had for about a tenner on Amazon.

New arrival, first spin.

Doug,

Thank you so much for your comments. I very much enjoy reading your musings and thinking about them. I'm now listening to other recordings of this sonata and thinking about what you describe. I have no musical training or knowledge, only curiosity and love, and so the entire notion of listening analytically is very new to me.

Best,

Carl

 On Double Black Vinyl

 On Vinyl

On the black stuff.

Through the Sennheisers.

On cassette 

 On Vinyl

The original DSOTM on cassette 

 On Vinyl