Pianist edition. Who is your favourite modern pianist ?
>daily reminder that there has never been a single German or Austrian that has ever cared about sonority
>daily reminder that all German and Austrian music is made with pointless mathematical whoopty doos in mind
>daily reminder that this is akin to a blind person painting with the aid of measuring tools
>daily reminder that this is antithetical to art
If i had to chose just one, then it would be Arkadi Volodos
That guy is a fucking beast, and he can do whatever he wants
Love his transcriptions like Turkish March,
And how he plays Schubert
Garbage taste jbrwysycbaoyptf (just being real with you so you can be aware of your pleb taste senpai (family))
>you forgot the motherfucking links, OP
>who gives a fuck
I do? I'm curious about how different it is compared to the other Ring recordings I'm used to listening. If someone says it's complete garbage I'm not gonna bother and will listen to something else. And I'm not even sure I understand the second part of your post.
>he doesn't think English is a language on the same level as Italian and German in terms of musical beauty
I've really gotten into this piece lately. The composition itself is really interesting but there is something appealing about the way he plays the piano and the recording quality. Parts of it sound really dreamy.
Hi I'm looking to pick up a recording of the Brandenburg Concertos and would love some recs for which ones to look into you guys never let me down in this stuff so heyo here I am again.
I prefer recordings with clear recording quality and leaning more towards clean/precise playing over more flamboyant stuff if that helps.
Prefer all six in one collection.
pretty good in a lot of ways, it has top tier singing, basically every role is is very well sung, and a Varnay/Windgassen/Uhde/Greindl/Modl combo in their prime truly makes the Götterdämmerung great.
there are a few issues though, like with any ring cycle, but depending on what you value they might be fairly large issues.
first, while the recording is in stereo and in pretty damn good captured sound for it's time, it suffers from the Bayreuth acoustic. even way more so in comparison to other Bayreuth recordings around that time (even in comparison to the older '51 Götterdämmerung that Culshaw also recorded at Bayreuth). this in large part has to due with how the miking was handled by Culshaw for the recording. for awhile i was sort've confused for as to why the brass especially sounded so terrible on the recorded, SDF made a nice post that summarizes it:
"The sound is terrible, actually - even for Bayreuth's low standards. The Bayreuth pit was deepened and expanded after Wagner's death to accommodate more musicians (in part because playing in Bayreuth was an honor, and more musicians wanted to do it), but in order not to overpower the singers the pit was shielded on top - which makes for the typical cramped sound you hear on recordings. Since the brass sits at the lowest position in the pit, they force and blare their parts in order to be heard at all - and the Decca engineers, blissfully ignorant of this fact, recorded them very closely. The sound is acceptable if you mic it from above the pit (not beautiful, cramped, but at least somewhat balanced), but inside it's utter hell - I've never heard a professional stereo recording with worse balance, or with uglier-sounding brass."
i'm not as harsh on the recording quality as he is, but it can get pretty terrible in some areas, especially some of the louder parts.
Keilberth is also a bit more metronomic in this recording than he was in his '52, and '53 recordings. but at least it's still played quick
I'm new to classical and don't know where to start. Is CLT's guide still a good guide to follow?
also the sound on Testament is pretty dynamically compressed, especially in the Siegfried. the dynamic range is pretty piss.
there are some other problems, like the machine in Scene 3 of Das Rheingold which is supposed to be simulating anvils or something, but it just sounds plain bad
even with all that stuff in mind though it's still worth a listen just to hear those great singers in fairly good sound, as far as Bayreuth recordings go, Bohm and Boulez's recordings are overall better probably. they might not be as well sung (though Bohm shares a decent chunk of singers with Keilberth, albeit singers falling out of their prime. Windgassen especially sounds very leathery and not very youthful like Siegfried should) but they have a better image of the orchestra that doesn't make ears bleed, and the playing and pacing is much better too.
i know a lot of people who swear by that Keilberth set though, so really in the end it's up to you.
Everything in CLTs list is at least decent, but it's an absolutely piss-poor guide to the Western canon. If you're just beginning to get into classical, I would personally suggest to start with the big names, i.e. JS Bach, Beethoven and Mozart and go from there.
OK. I've been listening to "Music for 18 Musicians" and "Debussy: Préludes" for a few days and while I liked the Préludes I really loved the Steve Reich's piece. I'm a complete classical pleb so where should I go from here?
Do you think mu can be redeemed? In /lit/ there is praise for the classics, and patricians contains the plebs. But here the situations is the other way.
Can we take the board by force?
>/lit/ is just as shit as /mu/, perhaps more so
Quality of the board notwithstanding, at least they keep the lowbrow populist trash contained in a thread or two while the majority of the posters actually do acknowledge the position of serious literature.
Gaspard de la nuit
Violin Sonata No. 2
Pavane pour une infante défunte
The Dharma at Big Sur
The Death of Klinghoffer