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What's your 2nd Favourite Dvorak Symphony ?


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In reply to an earlier post on 22 Jan 2014 20:57:44 GMT
Last edited by the author on 22 Jan 2014 20:58:32 GMT
JayJayDee says:
Henry...I mistakenly spent the first eighteen years of my life learning a wide expressive vocabulary and the subsequent 45 or so years diminishing it word by word 'til it will come down eventually to
'LOL'
'Innit'
'Too right'
'Yer What?'
'Woteva'

and

'I Dunno'

In reply to an earlier post on 25 Jan 2014 13:37:48 GMT
Someday I might reply to this post, but just now it would take more time than I have available. Just thought to say, Bruce, there are a lot of classical pieces wherein the strings could use "only" a little understanding of Jazz.

In reply to an earlier post on 25 Jan 2014 18:14:05 GMT
The weekend finally came and I was determined to find the cassette I have (or had) of Bruno conducting Mahler's 9th, which I really thought was a 1918 recording, but which seems impossible according to what others are writing. I still haven't found the tape. I ran across some other forgotten ones, though. Das Lied von der Erde, 1936, Bruno (Anyway, Mark, which recording is "best" is a wonderful world, out from which you need to explore and have no one else tell you. For example, in high school, I could not stop listening to Kubelik conducting Mahler's 4th. The sound director of the symphony in which I was playing at the time, bless his heart, gave me a recording of Mengelberg, 1939 (1940?) and told me that it was the most "authentic" interpretation, indicating Mahler's HHHHUUUUggggeeeEE dynamic variations, which the other conductors who had never heard Mahler conduct in person ever realized. Ok, I listened to the "most" authentic interpretation several times, but I still preferred the Kubelik recording.

I can scramble the eggs even more, if you like, but I won't give you the details, nor will I even suggest a pathway (this is your positive chance, MAN!, do it!!!). There is a recording of Mahler's 2nd symphony that gave me goose-pimples all over and even gained the admiration of others around me. A fantastic recording. !!! I mentioned this recording to another _____ who said that I was wasting my time. For those of you patient enough to have read this far, after I had totally outplayed and worn-out the cassette of Mahler's 2nd, I wanted to find the same recording on CD, but I could find nowhere, and so I settled for a recording of Mahler's 2nd, on CD, BY THE SAME CONDUCTOR, and when I went home and played it, well, end of story, piece of !"#¤!!!. The fantastic one was played by one symphonic orchestra, while the other one was played by something else. But by the same conductor.

So take your pick.

Cheers!
Andrew

In reply to an earlier post on 25 Jan 2014 20:11:17 GMT
Heh, heh... "lie".

In reply to an earlier post on 25 Jan 2014 20:40:49 GMT
otherwise recognized as Bach's unobtainable circle progression, if you haven't read GEB

In reply to an earlier post on 25 Jan 2014 21:14:06 GMT
Here I might be giving away my absolute dunsity about certain things, but when thinking about Chopin's fantasy impromptu in C-sharp minor and how it fits the piano-player's hands, but becomes a nightmare for the violist, I am tempted to suggest that the choice of key might not often rest with the artistic integrity but rather with the physical convenience or compliance on the part of the composer's anatomy.

And before the rest of you have a chance to take a shot at such an open bare comment, I'll be the first, "Hey, this guy is just some lazy A dude that thinks that some world-class composers actually might have constructed their pieces while regarding the physical limitations of the generations of teens who later may be trying to reproduce such peices."

Come to think of it, it makes me wonder just how known or reknown certain composers from yesteryear would even be known at all if it weren't for the fact that their compositions, remarkable or not, can be played by younger acolytes. Take for example the Telemann, which without it (don't shoot me for this) he might possibly to this day be completely unknown.

In reply to an earlier post on 25 Jan 2014 22:14:34 GMT
Last edited by the author on 9 Feb 2014 00:17:11 GMT
You are FFFUUUNNNYYY funny!
When I was in junior high I wrote a little program on my Atari 800, using none other than BASiC, not Microsoft BASIC, just BASIC with all its limitations, that I used to help me to memorize the definitions of every new word that I encountered each day. To say the least, the program paid off and has paid off many times throughout the years, but never like the time during the first day of AP-English when the teacher handed out to each student a copy of a paper containing a list of rules and regulations regarding the manner in which her class and lectures were to be conducted during the ensuing year. Among the rules was one she had apparently inherited from another predecessor, which argued against pedantic displays in the classroom. One student raised her hand and asked, "What does pedantic mean?" I knew then that my time had come. Heh, heh. This is a true story, BTW, with at least 20 witnesses:
I jumped up on my chair, hopping up and down with my hand raised in the air, saying, "I know, I know, pick me, PICK ME, please, I know" until the teacher who had never before in her life noticed me, said, "Ok, um [looking down at her note sheet] Andrew, what does pedantic mean?" I then took the bold step from my chair onto my desk and proclaimed, word for word, a direct quote from the 1950 Webster's dictionary that pedantic is the ostentatious display of one's learning, I took a bow and said please no applause, just money cast in my general direction will be enough, and then put my feet back on the chair, then the floor, and sat my butt back down on my chair and folded my hands back down on the desk in front of me, humbly, and waited for the teacher to respond. Things got really quiet.
While the teacher's mouth was hanging open, it was actually my best friend next to me who was the first to respond, and he asked, "Where is the hidden dictionary in your pocket?" as the teacher found words again and asked, "How did you know that? I had to go look it up this morning before lecture because I had forgotten what exactly it meant!" I just replied that I had written a simple computer program to help me memorize the definitions of new words. Pedantic was one of the words on the list.

In reply to an earlier post on 26 Jan 2014 03:26:11 GMT
JayJayDee says:
Check out 'longueurs' in the Franglais version.

In reply to an earlier post on 26 Jan 2014 03:37:06 GMT
Last edited by the author on 26 Jan 2014 03:40:24 GMT
JayJayDee says:
I got the Wind Serenade via this route in the 1990s when that Netherlands Royal Classics label bought up early Barbirolli material Symphony Nos 7-9/Scherzo Capriccioso [IMPORT].
All three of the symphonies are well played by the Halle, and well recorded for the late fifties. Originally issued on separate CDs

I also recall collecting a LP of that Vienna Kertesz performance of #9. The timpani are phenomenal.

In reply to an earlier post on 27 Jan 2014 11:11:58 GMT
Sorry no time to comment on all of your positive insights, just wanted to say that what I think is so remarkable about HEAVY HORSES and STORMWATCH is the absolute poetry of the lyrics, read completely on their own. You then combine that pristine poetry with a raspy determined voice (how's that freeway through your farm working out, Ian?) and medeival instrumentation, oh don't forget the flute, and then you get this phenomenon sometimes known as Jethro Tull. A band BTW, not an individual. For those of you who don't know, Jethro Tull is the name of a rock band, of which Ian Andersson is the lead singer. The bearded guy with the binoculars is one individual within the band Jethro Tull.

In reply to an earlier post on 27 Jan 2014 12:20:40 GMT
[Deleted by the author on 9 Feb 2014 00:14:33 GMT]

Posted on 27 Jan 2014 12:29:42 GMT
JayJayDee says:
Now we know who (at least) one of the negative voters is.
He/they or it also votes positively in favour of those comments aimed against certain contributors.
*DO* try and get a life!

In reply to an earlier post on 27 Jan 2014 12:58:21 GMT
Thank you, Nick.

In reply to an earlier post on 27 Jan 2014 13:40:14 GMT
Bruce says:
Who is it then?

In reply to an earlier post on 27 Jan 2014 18:59:21 GMT
enthusiast says:
This is a bit like Cluedo. Sorry to be dense or lazy but if there is a pattern can someone point it out to me, too.

In reply to an earlier post on 27 Jan 2014 19:35:32 GMT
JayJayDee says:
Not a good idea.... because he/it would then deviate from that pattern.
What people may not be aware of is that Amazon can trace the computer of origin of every interface.
*If* they want to.
And the physical location of every mobile phone is traceable - if that is a secondary/tertiary source!

Posted on 27 Jan 2014 19:37:36 GMT
Last edited by the author on 27 Jan 2014 19:37:57 GMT
Bruce says:
There is no way for anybody else to know, though.

Posted on 27 Jan 2014 19:39:25 GMT
Malx says:
JJD, I fear you are expending too much energy on this, without recognition they/he/she will lose interest. Ignore!

In reply to an earlier post on 27 Jan 2014 19:41:00 GMT
Bruce says:
Agree 100%

In reply to an earlier post on 27 Jan 2014 20:02:27 GMT
JayJayDee says:
So why ask 'Who it is'?

Please remember how many long weeks we tried to ignore the troll Tchitcherine before Amazon finally acted.

Certain immunities from the negatives stick out a mile! And not because they 'add to the discussion'. The collection of positive votes in their favour also identifies him/them. This is observed in the context that very few contributors (including myself) bother to click those votes anyway. We respond, or argue our alternative case, by commenting upon the thread!

And this thread concerns Dvorak. Today I think the New World is my second favourite in a sequence of 8/9/7/6/5/1/4/3/2. The order may change if I hear a good performance of one of them tomorrow!

Posted on 28 Jan 2014 09:13:01 GMT
Last edited by the author on 28 Jan 2014 09:15:22 GMT
Bruce says:
"So why ask 'Who it is'?"

Because there is no way you can know for certain who it is - so it's better to just ignore it.

You can come up with all the logic you like, but it could just be somebody winding you up or there could be numerous equally logical, alternative reasons ... or it could even be people expressing their honest opinions! ;-)

But whatever it is - you will never know (with any certainty)!

(Amazon would never tell you any personal details or they would be in breach of all sorts of legislation, like data protection and liable for massive fines.)

In reply to an earlier post on 28 Jan 2014 09:28:49 GMT
Last edited by the author on 28 Jan 2014 09:29:25 GMT
Bruce says:
Andrew, we know that some modern composers like Britten wrote at times, for amateurs and made considerations - but we also know that Beethoven made no consideration for how difficult, say his 9th symphony was for performers - many of whom complained that parts of it were impossible to sing or play! ;-)

We also know that later composers like Stravinsky and several others, deliberately wrote things that were virtually impossible to play, in order to hear the sound of musicians striving for the unattainable! ;-)

In reply to an earlier post on 8 Feb 2014 23:55:47 GMT
[Deleted by the author on 9 Feb 2014 00:09:02 GMT]

In reply to an earlier post on 9 Feb 2014 00:04:47 GMT
So what you are suggesting is that Stravinsky had a sense of humor. ?

In reply to an earlier post on 9 Feb 2014 13:10:58 GMT
Last edited by the author on 9 Feb 2014 13:11:38 GMT
Bruce says:
Not exactly, I think what I have read is that he wanted a sound that was primitive and "struggling" - he didn't want a perfect, relaxed or polished sound. But the debate then is how each generation, the musicians get better, instrument technology gets better and what was "nearly impossible" in the early 20th C is now just "par for the course" - so how do you re-create that experience?
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