Which musician(s), dead or alive, would you most like to see in performance?
Posted by: Mabelode, King of Swords on 10 October 2005
Mine is Glenn Gould playing the Goldberg Variations.
Steve
Steve
Posted on: 12 October 2005 by Guido Fawkes
quote:Originally posted by Top Cat:
Zappa: missed him in '88 (having only discovered his music the previous year) and he never toured again in the UK...
John
I saw FZ and his Mothers in 74 at Wembley when he was an overnite sensation. He played all new songs just to prove it was the hits that kept coming back (as he put it). He did encore with Brown Shoes Don't Make It and that was pretty spectacular.
Still though you didn't get to see him, FZ recorded nearly all his concerts and there is a lot of stuff around.
Shame he's no longer with us.
Posted on: 12 October 2005 by Blueknowz
In 1970 I went to the Bath Jazz& Blues Festival & the Ilse of Wight festival ,I saw anyone who was worth seeing at those 2 events !
Posted on: 12 October 2005 by Guido Fawkes
quote:Originally posted by Blueknowz:
In 1970 I went to the Bath Jazz& Blues Festival & the Ilse of Wight festival ,I saw anyone who was worth seeing at those 2 events !
Blueknowz
Did you get to see Shirley Collins then?
Rotf
Posted on: 12 October 2005 by Blueknowz
Singing Send in the Clowns ?
Some of the bill on this poster not all are included http://www.maximumrnb.com/Bath1970.htm
Ilse of wight info http://www.isleofwightfestival.com/history-1970.asp
Some of the bill on this poster not all are included http://www.maximumrnb.com/Bath1970.htm
Ilse of wight info http://www.isleofwightfestival.com/history-1970.asp
Posted on: 12 October 2005 by Guido Fawkes
quote:Originally posted by Blueknowz:
Singing Send in the Clowns ?
Some of the bill on this poster not all are included http://www.maximumrnb.com/Bath1970.htm
Ilse of wight info http://www.isleofwightfestival.com/history-1970.asp
Shirley Collins not Judy Collins.
"Shirley Collins is without doubt one of England's greatest cultural treasures" - Billy Bragg
If we ever got to vote for who should be Queen of England then she'd get my vote.
Thanks for the links - all the best, Rotf
Posted on: 12 October 2005 by Blueknowz
ROTF, If she was at the Bath or Ilse of Wight festivals I saw her !
Posted on: 13 October 2005 by Mabelode, King of Swords
I missed the Pink Floyd world tour in the 80s (I think it was called Delicate Thunder or something). Wouldn't mind going back in time and catching one of those concerts.
Steve
Steve
Posted on: 14 October 2005 by u5227470736789439
Dear Steve,
I saw this and thought hard about it. Surely if one saw a musician, now long gone, one would be living at a certain time in a certain place and thus would have been able to attend concerts by a whole range of artists. My thought is that I would love to have been playing the bass in London in the 1780s and 90s and thus would have sttod a very big chance of playing Haydn's Orchestra at the Hanover Square rooms. Can you imagine the excitement of the early performances of the London or Salomon Symphonies, as well as having JC Bach and Mozart as new music as well!
As an aside my second double bass was a London instrument of the first quality made about 1770, so with luck I might have owned it new. I always rather hoped that it had played under Haydn! It was actually owned by Holst (who used it in the school orchestra at Saint Paul's and the name of Saint Paul's Suite for String which it ceratinly was the first instrument to play the bass part in), and who retitred to Cheltenham, where he continued to teach at the Pates School from where my teacher bought the instrument with a view to me having a splendid thing to play...
Ohterwise I would love to have been in London in the 1920s and 30s. Furtwangler, Toscanini and Boult, Wood, Bruno Walter, Beecham, Talich, Mengelberg, and Elgar, as well as many names now forgotten. The depth of talent available to London audiences then was without parallel today and the playing of strings was far better than today. What a treat!
Fredrik
I saw this and thought hard about it. Surely if one saw a musician, now long gone, one would be living at a certain time in a certain place and thus would have been able to attend concerts by a whole range of artists. My thought is that I would love to have been playing the bass in London in the 1780s and 90s and thus would have sttod a very big chance of playing Haydn's Orchestra at the Hanover Square rooms. Can you imagine the excitement of the early performances of the London or Salomon Symphonies, as well as having JC Bach and Mozart as new music as well!
As an aside my second double bass was a London instrument of the first quality made about 1770, so with luck I might have owned it new. I always rather hoped that it had played under Haydn! It was actually owned by Holst (who used it in the school orchestra at Saint Paul's and the name of Saint Paul's Suite for String which it ceratinly was the first instrument to play the bass part in), and who retitred to Cheltenham, where he continued to teach at the Pates School from where my teacher bought the instrument with a view to me having a splendid thing to play...
Ohterwise I would love to have been in London in the 1920s and 30s. Furtwangler, Toscanini and Boult, Wood, Bruno Walter, Beecham, Talich, Mengelberg, and Elgar, as well as many names now forgotten. The depth of talent available to London audiences then was without parallel today and the playing of strings was far better than today. What a treat!
Fredrik
Posted on: 14 October 2005 by Jim Lawson
Ian Curtis
Posted on: 14 October 2005 by u5227470736789439
I missed the greatest improviser - JS Bach! To witness him improvising a fourth line to a trio or Preluding a chorale on the spot... This would have been priceless!
Fredrik
Fredrik
Posted on: 14 October 2005 by Jim Waugh
Franz Liszt or Wolfgang Amadeus Mozart. BTW, for some who suggested, Franz Schubert was not a virtuoso pianist and often turned to friends to play his pieces.
Posted on: 15 October 2005 by Mabelode, King of Swords
Fredrik
I read about your double bass with interest. Another hobby of mine is vintage guitars, especially vintage steel string guitars. The most valuable ones in existence are Martin guitars made in the period beginning with the 1930s depression and ending with World War 2. I once had the opportunity to play, for about half an hour, a Martin D-28 from this era, and it had a combination of volume and sustain that was from another planet. It was an extremely worn instrument, full of scratches and cracking lacquer - and I could have had it for a mere 20 thousand pounds, roughly!
But it all pales into insignificance with the realisation that your double bass might have been played with Haydn conducting! These instruments seem to live forever. Do you know where it is now?
Steve
I read about your double bass with interest. Another hobby of mine is vintage guitars, especially vintage steel string guitars. The most valuable ones in existence are Martin guitars made in the period beginning with the 1930s depression and ending with World War 2. I once had the opportunity to play, for about half an hour, a Martin D-28 from this era, and it had a combination of volume and sustain that was from another planet. It was an extremely worn instrument, full of scratches and cracking lacquer - and I could have had it for a mere 20 thousand pounds, roughly!
But it all pales into insignificance with the realisation that your double bass might have been played with Haydn conducting! These instruments seem to live forever. Do you know where it is now?
Steve
Posted on: 15 October 2005 by u5227470736789439
Dear Steve,
I mess an awful lot up. The instrument was far more valuable than I could afford to insure. Thus it was inevitable that it would meet an accidnet, and it did, while I carried another to its owner's car. I had the old, sweet thing repaired, but with no idea how it should be paid for, apart from selling it. That is what happened. I think it went through the London Auction System to Japan. If I can I'll post a photo, if I can get a scan. It was the the most beautiful looking instrument, but not as fine as its newly made replacement, finished in 1995.
Holst owned the old bass between the turn of the the twentieth century and 1934 when he willed it to Pates.
Fredrik
PS: Not on this Room as there are no attachements, so Padded Cell of Hifi Corner, the paradox, hey!
I mess an awful lot up. The instrument was far more valuable than I could afford to insure. Thus it was inevitable that it would meet an accidnet, and it did, while I carried another to its owner's car. I had the old, sweet thing repaired, but with no idea how it should be paid for, apart from selling it. That is what happened. I think it went through the London Auction System to Japan. If I can I'll post a photo, if I can get a scan. It was the the most beautiful looking instrument, but not as fine as its newly made replacement, finished in 1995.
Holst owned the old bass between the turn of the the twentieth century and 1934 when he willed it to Pates.
Fredrik
PS: Not on this Room as there are no attachements, so Padded Cell of Hifi Corner, the paradox, hey!
Posted on: 17 October 2005 by RiNo
Birgit Nilsson.
I´m sorry for your "loss" Fredrik, what pride of ownership you must have had!
Regards
Rickard
I´m sorry for your "loss" Fredrik, what pride of ownership you must have had!
Regards
Rickard
Posted on: 17 October 2005 by u5227470736789439
Dear Rickard,
My brother is called Richard! Actually I was very fond of the old bass. I was very affected by the loss, but I actually prefered the new instrument, which may be seen on True Truths 5.5 in the Padded Cell as I just posted it for Fritz. As for the old one, I have a wonderful picture a couple of recordings, one of the Fifth Brandenberg, which I still enjoy. It had a wonderful undertow of bass. But the new one had this also. I think it came from using gut string, and the necessary technique to actually get a biggish sound requires the finest attack with the bow. Too much and the focus goes and too little, and it is too quiet for the balance. The natural voice is quietish, and the range of colours quite beyond what any steel or nylon string can get, but they are horrible to tune. Once settled to the humidity of the Hall they will stay in tune for half an hour, but the can move a semi-tone in five minutes when they first come into a new atmosphere. One got used to tuning as one went, and unobtrusively. In fact no finer training for intonation could possibly exist, which may help to explain the quality of string playing before the advent and near universal adoption of steel string in orchestras. It is also true that poorer basses that never worked well with gut strings often sound much more respectable with steel strings, usually because there is too much wood in them and they require the persuasion of the more poweful steel string to work well, though extra strain on the front often makes the effect more audible at the players ear than right out in the Hall. Once I had to double a Rock Bass Guitar, which I thought pointless. I said so. I was told that at the back, the old bass was far more apparent than the electric bass, which had two 15 inch driver in the speaker box. That I still find amazing, but a reording (very bad) actually showed this to be the case. Isn't that odd. Plain gut being more focussed and clear than 150 watts of amplified bass!
Golly I am going all nostalgic. Get the bottle out next! If I can get a scan I'll post the old London Bass...
All the best, Fredrik
My brother is called Richard! Actually I was very fond of the old bass. I was very affected by the loss, but I actually prefered the new instrument, which may be seen on True Truths 5.5 in the Padded Cell as I just posted it for Fritz. As for the old one, I have a wonderful picture a couple of recordings, one of the Fifth Brandenberg, which I still enjoy. It had a wonderful undertow of bass. But the new one had this also. I think it came from using gut string, and the necessary technique to actually get a biggish sound requires the finest attack with the bow. Too much and the focus goes and too little, and it is too quiet for the balance. The natural voice is quietish, and the range of colours quite beyond what any steel or nylon string can get, but they are horrible to tune. Once settled to the humidity of the Hall they will stay in tune for half an hour, but the can move a semi-tone in five minutes when they first come into a new atmosphere. One got used to tuning as one went, and unobtrusively. In fact no finer training for intonation could possibly exist, which may help to explain the quality of string playing before the advent and near universal adoption of steel string in orchestras. It is also true that poorer basses that never worked well with gut strings often sound much more respectable with steel strings, usually because there is too much wood in them and they require the persuasion of the more poweful steel string to work well, though extra strain on the front often makes the effect more audible at the players ear than right out in the Hall. Once I had to double a Rock Bass Guitar, which I thought pointless. I said so. I was told that at the back, the old bass was far more apparent than the electric bass, which had two 15 inch driver in the speaker box. That I still find amazing, but a reording (very bad) actually showed this to be the case. Isn't that odd. Plain gut being more focussed and clear than 150 watts of amplified bass!
Golly I am going all nostalgic. Get the bottle out next! If I can get a scan I'll post the old London Bass...
All the best, Fredrik
Posted on: 18 October 2005 by RiNo
Hi Fredrik
I had to read your post twice to fully(?) apprehend. I used to play the clarinet, but nowadays to scarcely. One of my best friends is alternating principal clarinetist at Stockholm Royal Philharmonic Orchestra. I've had some memorable moment in that hall (often on the choir seat).
I think I understand what you wrote about gut versus steel. Geeh, half an hour to settle on tune. Those that don't play an instrument (especially wooden) can't really fathom how different apperently identical instruments can behave in one hand(s) or mouth
No pun intended 
As for your comment on different sounds in iones head and out in the hall it's similar with the clarinet. It can be bored (drilled?) differently in order to achieve different projection of ones tone.
If I get more time I'll try to indulge in your writing about music.
Regards
Rickard
P.S when I wrote this you had 555 posts, an Omen??? D.S
I had to read your post twice to fully(?) apprehend. I used to play the clarinet, but nowadays to scarcely. One of my best friends is alternating principal clarinetist at Stockholm Royal Philharmonic Orchestra. I've had some memorable moment in that hall (often on the choir seat).
I think I understand what you wrote about gut versus steel. Geeh, half an hour to settle on tune. Those that don't play an instrument (especially wooden) can't really fathom how different apperently identical instruments can behave in one hand(s) or mouth
No pun intended As for your comment on different sounds in iones head and out in the hall it's similar with the clarinet. It can be bored (drilled?) differently in order to achieve different projection of ones tone.
If I get more time I'll try to indulge in your writing about music.
Regards
Rickard
P.S when I wrote this you had 555 posts, an Omen??? D.S
Posted on: 18 October 2005 by BobPaterso
Phillip Glass conducting or playing any of his compositions.
Posted on: 18 October 2005 by Nime
Fredrik
I had the pleasure of a few short pieces from Bassissimo this evening on Danish Radio. They had something like 45 basses (and presumably bassists) together.
It reminded me rather of Apocalyptica.
http://www.bassissimo.org/
I had the pleasure of a few short pieces from Bassissimo this evening on Danish Radio. They had something like 45 basses (and presumably bassists) together.
It reminded me rather of Apocalyptica.
http://www.bassissimo.org/
Posted on: 18 October 2005 by u5227470736789439
Dear Nime,
Too many basses! In the old days the Berlin Philharmonic used to have up to 14 in the orchestra! One day in Stockholm, they played a Bruckner Symphony and then the Third Brandenberg. [The story is from Herbert Blomsted, who recalled this from his young days]. They played the Bach after the interval. How times change, and as a concession to Baroque sized playing reduced from 14 to 13 basses! In one way it would have been tremendous - as sound - but as a rendition of Bach, one can but wonder!
Fredrik
Too many basses! In the old days the Berlin Philharmonic used to have up to 14 in the orchestra! One day in Stockholm, they played a Bruckner Symphony and then the Third Brandenberg. [The story is from Herbert Blomsted, who recalled this from his young days]. They played the Bach after the interval. How times change, and as a concession to Baroque sized playing reduced from 14 to 13 basses! In one way it would have been tremendous - as sound - but as a rendition of Bach, one can but wonder!
Fredrik
Posted on: 18 October 2005 by u5227470736789439
quote:Originally posted by RiNo:
Hi Fredrik
...
Regards
Rickard
P.S when I wrote this you had 555 posts, an Omen??? D.S
Dear Rickard,
I rather hope not! Not that I would not like one I suppose! But it might mean I shall win the lottery! Let's hope!
Fredrik
Posted on: 19 October 2005 by RiNo
quote:Dear Rickard,
I rather hope not! Not that I would not like one I suppose! But it might mean I shall win the lottery! Let's hope!
Fredrik
Yes, lets hope together. I don't even own a CDP for now
Hopefully I might fund a CDP next year, but it's more tempting to switch cartridge and tonearmscables and of course get some vinyl.
What do you think about Speakers Corners vinyl reissue of the Mercury catalogue? Have you any L'archer d'Or vinyl?
Do you use a mono pick-up?
Regrds
Rickard
Posted on: 19 October 2005 by u5227470736789439
Dear Rickard,
I am a real "keep it simple" person in the vinyl department. I have a Rega P3 with Elys. There is no possible issue with set up apart from tracking and anti-scate. My LPs were and still are mostly mainstream EMI, DG and so on. I tolerate them! But I do see how a well set up Turntable is almost art in itself! So really I am not much of a TT enthusiast! I use vinyl if there is no CD issue. Sorry! My CDS2 was a gift from my late Grandmother in Norway, as a parting shot a few weeks before she died, and so it has a special place in my heart. I would never trade it in even for a CDS555! It would have to be the source in a second system if one ever came along! Mind it was THE CD player in its day...
Fredrik
PR: I can tell you a good trick for making mono LPs with damage sound better. One side of the groove is usually damaged, while the other is still good. Unplug the damaged side from the pre-amp input, and put the mono botton on. You get the clean channel in both speakers! I have transfered many slightly or even badly worn mono LPs very happily like that. And it is much less fuss than doing it each time. I tend to transfer LPs which would otherwise get regular use to CD via a friend's Philips CD recorder, which I once owned but gave away as his nead seemd greater! 400 LPs!
I am a real "keep it simple" person in the vinyl department. I have a Rega P3 with Elys. There is no possible issue with set up apart from tracking and anti-scate. My LPs were and still are mostly mainstream EMI, DG and so on. I tolerate them! But I do see how a well set up Turntable is almost art in itself! So really I am not much of a TT enthusiast! I use vinyl if there is no CD issue. Sorry! My CDS2 was a gift from my late Grandmother in Norway, as a parting shot a few weeks before she died, and so it has a special place in my heart. I would never trade it in even for a CDS555! It would have to be the source in a second system if one ever came along! Mind it was THE CD player in its day...
Fredrik
PR: I can tell you a good trick for making mono LPs with damage sound better. One side of the groove is usually damaged, while the other is still good. Unplug the damaged side from the pre-amp input, and put the mono botton on. You get the clean channel in both speakers! I have transfered many slightly or even badly worn mono LPs very happily like that. And it is much less fuss than doing it each time. I tend to transfer LPs which would otherwise get regular use to CD via a friend's Philips CD recorder, which I once owned but gave away as his nead seemd greater! 400 LPs!
Posted on: 20 October 2005 by RiNo
Dear Fredrik
Thanks for your reply. It's clear why you don't bother with a more complicated TT, The CDSII is a great CDP and the sentimental value can not be overrated!
I lost my father two years ago in an traffic accident, which happened when he was out training for a bicyclerace round the Lake of Vättern. I bought my TT in grief, but it somehow always let me be reminded of my father in a postitive way. He would have loved listening to music on that deck.
Still, life goes on, but I will probably never let go of my SME.
Best regards
Rickard
P.S
Good advice regarding the damaged monorecords D.S
Thanks for your reply. It's clear why you don't bother with a more complicated TT, The CDSII is a great CDP and the sentimental value can not be overrated!
I lost my father two years ago in an traffic accident, which happened when he was out training for a bicyclerace round the Lake of Vättern. I bought my TT in grief, but it somehow always let me be reminded of my father in a postitive way. He would have loved listening to music on that deck.
Still, life goes on, but I will probably never let go of my SME.
Best regards
Rickard
P.S
Good advice regarding the damaged monorecords D.S
Posted on: 20 October 2005 by u5227470736789439
Dear Rickard,
Just to round out the story of my set, the 52 was financed when I sold my lovely five stringer. So altogether I can only consider any upgrades as the starting of a new system. Arthritis ruined my letf hand. It still causes me alarm listening to recordings of my playing in a small string band, which I joined after I abandoned prefessional playing, that the precise control I once had with tuning had gone. I gave up because of it, but neither regret the playing - the best thing I ever did, and the teaching - but also I have no regrets about finishing before anyone actually wanted me to. Go while the going is good! One can never listen to music in a dispassionate, once one has played some under the heat of real performance!
All tyhe best Fredrik
Just to round out the story of my set, the 52 was financed when I sold my lovely five stringer. So altogether I can only consider any upgrades as the starting of a new system. Arthritis ruined my letf hand. It still causes me alarm listening to recordings of my playing in a small string band, which I joined after I abandoned prefessional playing, that the precise control I once had with tuning had gone. I gave up because of it, but neither regret the playing - the best thing I ever did, and the teaching - but also I have no regrets about finishing before anyone actually wanted me to. Go while the going is good! One can never listen to music in a dispassionate, once one has played some under the heat of real performance!
All tyhe best Fredrik
Posted on: 14 November 2005 by u5227470736789439
Brahms,
At the end his life, conducting the Fourth Symphony! I would have learned a lot from that. We cannot know just how things were done before the gramophone captured performances, and I was discussing this with a friend, and weconcluded that this would havebeen very interesting indeed. Apparently the old man thought that von Bulow was far too straight! The tempo should totally flexible when the music needs it! So he took over the rehearsal and subsequent performance! Poor old von Bulow...
All the best, Fredrik
At the end his life, conducting the Fourth Symphony! I would have learned a lot from that. We cannot know just how things were done before the gramophone captured performances, and I was discussing this with a friend, and weconcluded that this would havebeen very interesting indeed. Apparently the old man thought that von Bulow was far too straight! The tempo should totally flexible when the music needs it! So he took over the rehearsal and subsequent performance! Poor old von Bulow...
All the best, Fredrik