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Daniil Trifonov, Rach man

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Posted on November 12, 2015 at 17:42:29
rbolaw
 Rhapsody on a Theme of Pag done, Concerto no. 2 coming up. Great chops, but odd tempo choices in some of the variations, and overall a bright, percussive quality that isn't my ideal for Rach, anyway.
Time to refill my cup and get ready for part 2, live on WQXR or WQXR.org.
Edit: Rach 2 much better, very good. Still not my ideal Rach artist, but well done. Sounds like there's an encore, so I'm out.

 

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RE: Rhapsody on a Theme of Pag, posted on November 12, 2015 at 18:51:05
Ivan303
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Listening on QOBUZ.

New DAC/Headphone amp and it sounds pretty good to me!

Thank goodness for 'gapless playback' with QOBUZ. ;-)


First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass

 

I wonder how that compares to the live performance just ended, posted on November 12, 2015 at 18:58:09
rbolaw
 A 5-star review of that CD on amazon.com (the ultimate authority for everything) says that he's sometimes guilty of "wild tempo whimsies", but not on that CD. Some of his tempo choices tonight in the Rhapsody seemed odd, but it's a tricky piece with all the dramatic contrasts in the short variations. I'll have to listen to that CD.

 

RE: Rhapsody on a Theme of Pag, posted on November 13, 2015 at 07:36:29
srl1
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 FWIW, I like this performance a lot.

 

RE: Daniil Trifonov, posted on November 15, 2015 at 11:26:45
Amphissa
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 Since winning both the Rubinstein and the Tchaikovsky piano competitions in 2011, Trifonov has been touring steadily. Yet even after around 4 years on tour, he still comes across as awkward, nerdy, stiff, shy on stage -- except when he is sitting at the keyboard.

I've seen him only once in concert, but many of his performances are broadcast. So I've heard him play quite a lot.

Yes, he plays Rachmaninoff, but he's not locked in totally. In addition to all the Rachmaninoff concertos, I've found broadcast recordings of some other composers of note.

Glazunov Piano Concerto No. 2
Chopin Piano Concertos 1 & 2
Prokofiev Piano Concerto No. 2
Scriabin Piano Concerto
Shostakovich Piano Concerto No. 1
Tchaikovsky Piano Concerto No. 1
Liszt Transcendental Etudes

And of note, he has been playing his own compositions. As encore, he often includes h is own Scherzo and an homage to Rachmaninoff called Rachmaniana.

But he also has performed his own Piano Concerto, which is actually a pretty impressive piece, modern yet not abrasive.

I don't always love every moment of Trifonov's interpretations, but he brings a freshness to music that appeals to me.



"Life without music is a mistake" (Nietzsche)

 

Thanks, I'll look into those, posted on November 15, 2015 at 13:31:49
rbolaw
 I'm not sure what the point is of the Rach marathon he's doing with the NY Philharmonic this month -- trying to prove he's up to the task to those who see him as "nerdy" or physically weak? Seems like winning the Tchaikovsky and the acclaim that followed may not have been such a boon for him if he feels the need to do that rather than accept his own persona.

 

RE: Thanks, I'll look into those, posted on November 15, 2015 at 14:06:02
Amphissa
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 Well, ya know, soloists are like freelancers or contractors. They have their list of things they are prepared to play. The employer (in this case, Macelaru and NYPO) selected the music from the soloist's list that they wanted the soloist to play. Why contract with him for multiple concerts playing Rachmaninoff? I dunno. Maybe they are just capitalizing on what they think will be most attractive to their audiences.

Interesting to me that it was just in September that the Pittsburgh Symphony (conducted by Honeck) had him perform his own piano concerto. Broadcast by WQED.

Gergiev had him perform the Glazunov 2nd PC with the London Symphony two years ago. That was a rarity to hear in a live performance by anyone. That was a good program, which included Borodin's 2nd Symphony.


"Life without music is a mistake" (Nietzsche)

 

Who knows why, posted on November 15, 2015 at 14:41:43
rbolaw
 the NY Philharmonic programs anything or anyone it programs. If they wanted to do a Rachmaninoff festival (why?), then why not as many different piano soloists as possible? If the focus had to be on him, I would have been more interested to hear him do a Rach concerto and then his own concerto, for example, and not necessarily on the same night.

He obviously has a large and varied repertoire, it would have been good to take advantage of it.

 

You're right: the employers mostly don't allow the piper to call the tune, posted on November 15, 2015 at 14:53:05
Chris from Lafayette
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 I was talking to Jon Nakamatsu recently: among the concertos he has offered to orchestras over the years (and it's been on his list continuously for AT LEAST 12 years) is the Saint-Saens Piano Concerto No. 4. In all these years, that concerto has been selected exactly ONCE by an orchestra for a program! And I never thought of the Saint-Saens Fourth as being particularly rare. Amazing.

I know what you mean about that Trifonov/Gergiev Glazunov Second Concerto - I was so happy to see that concerto on an actual program that I downloaded the entire concert file from the BBC. Only mp3 quality unfortunately, but I'm glad I have it.

 

That's true., posted on November 15, 2015 at 15:44:39
rbolaw
 The NYP can program whatever it wants. What it has programmed this season for orchestral concerts consists mostly of an odd combination of standard warhorses, pops concerts, and contemporary composers who are pals of Alan Gilbert - Magnus Lindberg (a former composer in residence), Esa Pekka Salonen (the incoming composer in residence), Thomas Ades, etc.
Even if late 19th and early 20th century romantic music is your main thing, there isn't a whole lot that's intriguing. No Saint-Saens 4th piano concerto, Glazunov 2nd or anything like that. There will be a Bartok 2nd violin concerto, which is an exciting virtuoso tour de force, but not really novel. And Trifonov playing the Rach Rhapsody and three of the four piano concertos (not the less often heard fourth, though).
It's as if the board and Gilbert have reached a compromise: They get the warhorses and pops that they feel will fill the seats, and he gets to do music by his composer friends. Maybe that's part of the reason he's leaving after next season.

 

I guess it depends on the soloist, posted on November 15, 2015 at 15:57:20
Analog Scott
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 Yuja pretty much calls the shots on her repertoire. At this point she pretty much picks the piece and the venue takes it or leaves it. Not a whole lot of "leavers." She is still over booked.

I know, I know, she is the exception not the rule. But I would think she is one of a good many that have that kind of star power.

 

RE: I guess it depends on the soloist, posted on November 15, 2015 at 16:31:27
learsfool
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 I would put it slightly differently - Yuja has the appearance of calling her own shots more simply because she offers a much smaller list, so the managers have less to choose from. Make no mistake; they are still the ones choosing - she is just limiting the choices more.

 

Well, no it doesn't, posted on November 15, 2015 at 17:47:37
Amphissa
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I doubt that she picks any obscure pieces, sticking to the warhorse concertos. The problem is, most orchestras do not have the music for lesser known composers or lesser played works in their library. So, even if a soloist wants to play the terrific Stenhammar 1st or virtuoso Rubinstein 4th or the spectacular Rufinatscha PC, chances of finding an orchestra with the music in their library is pretty close to zero.

So she can pick whatever she wants, as long as it is something they are prepared to perform.


"Life without music is a mistake" (Nietzsche)

 

I agree, but, posted on November 15, 2015 at 18:01:54
Amphissa
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 Yes, he is surely prepared to play other composers, and NYPO has a vast library that includes a lot of lesser known or rarely played composers. Personally, I love the music of Rachmaninoff, BUT I'd prefer to hear the Glazunov or the Martucci or the Stenhammar or any of a hundred other concertos, because the Rachmaninoff concertos get played constantly and the others rarely. Even noted composers -- how often do we see the Dvorak piano concerto? Does anyone even know that Elgar wrote a piano concerto?

Oh how I wish for American orchestras to play music that I have not already heard 1,000 times. Orchestras of 75 years ago played a huge variety of music. Toscanini, Stokowski, Stock, Furtwangler, etc, etc, offered much more diverse programs. Even now, in Europe, the orchestras play a much larger selection of music than U.S. orchestras. And that music gets streamed or broadcast.

It is a sad state of affairs in the U.S. We have an abundance of orchestras and so little diversity to hear.


"Life without music is a mistake" (Nietzsche)

 

Boy, I would give a lot!, posted on November 16, 2015 at 10:15:58
TGR
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 To have more variety in the concerto space....I mean, I can't stand the Tchaikovsky 1st, and I had to sit through it twice in a space of two years to hear other works....why not play the Tchaikovsky 2nd or 3rd, or (as you say) the Saint-Saens 4th.

 

How much would you give, exactly?, posted on November 16, 2015 at 12:17:17
rbolaw
 Because without a lot more government support, the largest private donors will essentially continue to call the shots for most American orchestras. David Geffen gave Lincoln Center $100 million for the upcoming renovations -- and to put his name on what was once Philharmonic Hall and later Avery Fisher Hall. $15 million of that went to compensate Avery Fisher's family, so I hate to think how much it will cost to get David Geffen's name off the building the next time they decide to renovate.

If you want to get rid of all the classical hits and pops programming, get ready to write a lot of zeros at the end of your check.


 

RE: Well, no it doesn't, posted on November 16, 2015 at 13:23:57
Analog Scott
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 "I doubt that she picks any obscure pieces, sticking to the warhorse concertos."

You "doubt?" Here is a novel idea...check out what she actually has on her schedule. Just got back from seeing her play Tchaikovsky Piano concerto #2. How often have you seen that one played? You know why she is playing it? Because She_chose_to.

"The problem is, most orchestras do not have the music for lesser known composers or lesser played works in their library. So, even if a soloist wants to play the terrific Stenhammar 1st or virtuoso Rubinstein 4th or the spectacular Rufinatscha PC, chances of finding an orchestra with the music in their library is pretty close to zero."

Or maybe there just aren't that many people who want to play them. Either way, Yuja does pick her repertoire whether you believe it or not.

I doubt she is alone in that.

 

RE: I guess it depends on the soloist, posted on November 16, 2015 at 13:39:24
Analog Scott
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 Wrong. It is not an appearance of picking her repertoire. I have sat in on a couple of her meetings with her manager about bookings. She calls the shots. She chooses the pieces and the venues take it or leave it. The bottom line is that the demand is so high for her these days that she can do that. As it is she still has the problem of being over booked. And while she may be the exception not the rule I would suspect that she is certainly not alone in this regard. If you actually look at the schedules of many of the biggest stars in classical music it becomes pretty obvious that many of them are picking their repertoire.

Most of the venues need the stars to fill the seats. Others that don't need them still want them. Look at any brochure for any season of any symphony orchestra. You will more than likely see pictures of the star soloists on the cover. That sells tickets.

Of course it is a juggling act. And no doubt the second tier soloists bear the brunt of playing the repertoire that the venues demand so they can have the kind of variety they need to make their seasons balanced. But just check the schedules of the classical stars. You can see quite easily that they are picking their repertoire. You don't see Yuja wang playing Bach. Not her thing. You don't see Andras Schiff playing Rachmaninoff either. Not his thing.

Take a good look at her schedule for the next year (almost)
http://yujawang.com/
You see three new concertos that she chose to add to her repertoire. They are the bulk of her schedule. She chose them as her new pieces. Then you see two pieces that were already a part of her repertoire that she is planning to record next year. Again her choices, And lastly you see one concerto that she just recorded.


All the recitals are TBD. And that is because she is still Ding them.

 

RE: You're right: the employers mostly don't allow the piper to call the tune, posted on November 16, 2015 at 13:41:54
Analog Scott
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 Why not go see Yuja play Tchaikovsky's Second Piano Concerto in February? And while you are at it go see her play Mozart's 9th the other night she is at Davies Hall

 

RE: Well, no it doesn't, posted on November 16, 2015 at 14:13:00
Amphissa
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 The reality is, no soloist can play music that the orchestra cannot accompany. The orchestra must have the orchestral parts. So the soloist cannot choose to play just anything he/she wants. The soloist can play anything the orchestra has music for.

It's very nice that San Diego Symphony had access to the orchestral parts for Tchaikovsky PC2. And since Ms. Yang now plays mostly with major orchestras with large libraries, she has more flexibility. (I suspect the SDSO borrowed the orchestral parts for this from the LAPO.)

Try that in Petaluma, KY or Fargo, ND or Augusta, Maine or Cheyenne, WY or any of the other hundreds of regional orchestras. It is unlikely that they would have the music.

It's wonderful that Ms. Wang can play whatever she wants with major orchestras. That is not the case for most soloists who are playing with smaller orchestras.

As for Tchaikovsky PC2, Tchaikovsky is a major composer. Let us know when she decides she wants to play a concerto by Paderewski (Rachmaninoff's primary competitor on the concert stage), Rufinatscha,Litoff, Bortkiewicz, McDowell, Scharwenka, Moszkowski, Tcherepnin, Pfitzner or Martucci. They are all terrific concertos. If she finds an orchestra with the music to accompany her, and if they are willing to put an unfamiliar composer on their program, I'll definitely be there.


"Life without music is a mistake" (Nietzsche)

 

Wrong? It doesn't look that way., posted on November 16, 2015 at 14:22:39
rbolaw
 Scott, I just looked at Yuja Wang's beautiful, Rolex-sponsored website, and I see that other than the Messiaen Turangalila Symphony, which she is not performing in the United States, her upcoming concerto performances this season are limited to routinely performed standards: the Mozart Jeunehomme, the Tchaikovsky no. 2, the Brahms no. 2, the Bartok no. 1 and the Ravel. Even the Messiaen is not an obscure piece for the (alas!) apparently more sophisticated European audiences.

The truth is, even the biggest stars nearly always play the standard classical hit concertos, even in New York and Los Angeles. If Yuja Wang specialized in contemporary music, as some excellent musicians do, she would most likely not call the shots.

Hillary Hahn has recently undertaken the performance of many contemporary works, as has Matt Haimovitz. But they both established their reputations with the standard warhorses for many years earlier in their careers.

 

RE: Well, no it doesn't, posted on November 16, 2015 at 14:37:44
Analog Scott
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 "The reality is, no soloist can play music that the orchestra cannot accompany. The orchestra must have the orchestral parts. So the soloist cannot choose to play just anything he/she wants. The soloist can play anything the orchestra has music for."

And as such, if an orchestra is not willing to play what Yuja wants to play she doesn't play with them. Again it is a take it or leave it situation.

"It's very nice that San Diego Symphony had access to the orchestral parts for Tchaikovsky PC2. And since Ms. Yang now plays mostly with major orchestras with large libraries, she has more flexibility. (I suspect the SDSO borrowed the orchestral parts for this from the LAPO.)"

That is certainly quite possible that they had to borrow it. But that would simply show who is calling the shots. Look at what Yuja played there. She played the concertos she has chosen to add to her repertoire and is playing at most of her concerts for the next year or so. Her choice. Not the San diego symphony. They agreed to her choices. That's why she played there. If they demanded something else they would not have had her.

"Try that in Petaluma, KY or Fargo, ND or Augusta, Maine or Cheyenne, WY or any of the other hundreds of regional orchestras. It is unlikely that they would have the music."

That certainly is not why Yuja is not playing those pieces.

"It's wonderful that Ms. Wang can play whatever she wants with major orchestras. That is not the case for most soloists who are playing with smaller orchestras."

Well yeah, that is what I said...

"As for Tchaikovsky PC2, Tchaikovsky is a major composer."

You are moving the goal posts. It is an obscure concerto. Hardly anyone ever plays it and for good reason. It's incredibly hard to play.


"Let us know when she decides she wants to play a concerto by Rufinatscha,Litoff, Bortkiewicz, McDowell, Scharwenka, Moszkowski, Tcherepnin, Pfitzner or Martucci. They are all terrific concertos. If she finds an orchestra with the music to accompany her, and if they are willing to put an unfamiliar composer on their program, I'll definitely be there."

She has already decided to do Messiaen's Turangalila. Again, her choice. And, at my suggestion believe it or not, she is probably going to be doing Esa Pekka Salonen's Piano Concerto. She didn't like it at first but it grew on her.

I just can't see how she is the lone person in classical music that does this. Do you really think that orchestras dictate repertoire to Itzhak Perlman, Joshua Bell, Martha Argerich, Andras Schiff, Sarah Chang, Anne Sophie Mutter, Yo Yo Ma or any of the other soloists of this status?

I'd like to be a fly on that wall when some orchestra tells one of these stars what they can and can not play. Oh wait, been there done that.

 

Well, not quite., posted on November 16, 2015 at 14:37:47
rbolaw
 If a piece came along that would fill the seats, most orchestras would rent the parts pdq. (The parts in orchestra libraries are basically old public domain material.) I'm sure John Williams makes plenty of cash from all those symphony orchestra pops concerts of his movie music.

My college orchestra rented the parts to do a number of 20th century works. But I went to a college with a very large endowment. And our concerts weren't free admission.

 

RE: I guess it depends on the soloist, posted on November 16, 2015 at 15:01:22
Amphissa
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 Ms. Wang has the great fortune to be able to play with the great orchestras. They have large libraries of orchestral parts for all the major composers.

But the basic approach is exactly what I described above. The soloist, before each touring season, selects some pieces that he/she is prepared to perform during the season. The contracting orchestra then selects the particular piece to put on their program. If the orchestra has orchestral parts for *all* of the pieces, they *might* let the soloist just choose whichever one the soloist prefers to play. But more often, the orchestra will want to select which one of the pieces to put into a program that makes sense musically, so the music director will prepare a program that includes one of the pieces the soloist has to offer, select other pieces that the orchestra also has music for that fits together, and contract for that piece to be performed.




"Life without music is a mistake" (Nietzsche)

 

RE: Wrong? It doesn't look that way., posted on November 16, 2015 at 15:03:55
Analog Scott
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 I do love the "other than" comment. That is called cherry picking. And yeah, she is only playing it in Europe and Venezuela. So what? The bottom line...she chose the piece. Tchaikovsky 2nd is "routinely performed?" um...no. Both pieces are rarely performed and she is performing them because she chose to.

You are missing the point or dodging it. It is not about what is routinely performed or not. My assertion was and still is that those pieces were chosen by Yuja not by any orchestra. She calls the shots on her repertoire.

Rolex does not sponsor her website. They do sponsor her. They do not dictate repertoire to her either. By the way, neither does DG when it comes ot her recordings.

"If Yuja Wang specialized in contemporary music, as some excellent musicians do, she would most likely not call the shots."

You can talk about hypotheticals all you want. I'm talking about the reality of the situation. Yuja does not specialize in any one kind of classical music. She does pick her repertoire. That is reality. Nothing you saw on her schedule was dictated to her. all the pieces there are pieces she is choosing to play for this season and next.





 

RE: Wrong? It doesn't look that way., posted on November 16, 2015 at 15:26:20
rbolaw
 Actually, you are dodging the point and cherry picking. And, to be honest, wrong in a number of ways. The Tchaikovsky 2 may be less often performed than the Tchaikovsky 1 (thank goodness), but it too is a standard, old, warhorse. If you didn't know that, why are you posting on this subject? Europe generally has a better environment for more unusual and newer repertoire, but Messiaen is a famous composer by 20th century standards, and is long deceased and thus not contemporary. Also, the Turangalila is probably his most famous orchestral piece.

Ms. Wang may pick her own repertoire. But she nearly always picks what major orchestras are going to be most willing to program. (No point in arguing with me, I looked at her entire schedule this year.) Perhaps in her solo recitals she is able to be more adventurous, and if she is, I respect her for that. And this is only evidence that she is in fact a major star, which you seem so anxious to prove. So calmez-vous.

Finally, have you ever spoken at length to conductors and others who are responsible for the programs of symphony orchestras about this very issue? I have. When they pay big fees to big names, they expect to fill the seats with paying customers. Less well-known music has to be presented in other ways.

 

RE: I guess it depends on the soloist, posted on November 16, 2015 at 15:40:26
Analog Scott
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 Yeah of course. I wasn't trying to say that she specifically picks a particular piece for each specific date. But everything she is playing is of her choice. and of course the choices are made by a meeting of the minds.


And yes she is very fortunate to have that luxury. I am quite sure the rules for the elite soloists are quite different than that of the second and third tier soloists.

No doubt music directors have quite the task of balancing all the elements that go into a season of classical music. I would be quite willing to bet though that much of the repertoire in any given season is built around the demands of the elite soloists they wish to book.

 

RE: Wrong? It doesn't look that way., posted on November 16, 2015 at 16:10:22
Analog Scott
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 "Actually, you are dodging the point and cherry picking. And, to be honest, "wrong in a number of ways."

Nah. Chris said in his post header "the employers mostly don't allow the piper to call the tune"

And to that specific assertion I said

"I guess it depends on the soloist." "Yuja pretty much calls the shots on her repertoire. At this point she pretty much picks the piece and the venue takes it or leaves it. Not a whole lot of "leavers." She is still over booked.

I know, I know, she is the exception not the rule. But I would think she is one of a good many that have that kind of star power."

And I stand by that. all this talk about the relative obscurity of Tchaikovsky's second piano concerto is off point in regards to my assertion about Yuja choosing her repertoire.

" Ms. Wang may pick her own repertoire. But she nearly always picks what major orchestras are going to be most willing to program. (No point in arguing with me, I looked at her entire schedule this year.)"

She picks what she wants to play. Period. And yeah there is no point in arguing with you if you are going to insist that pieces like Tchaikovsky Concerto 2 and the Messiaen Turangalila are war horses in the classical repertoire. Who else is playing those concertos this season? Her choices are not dictated by demands made on her by major orchestras. If that were the case she would still be playing Rach II and III and Prok II and III this season. She chose to put those concertos away to explore new repertoire and that new repertoire is what she is playing. No orchestra or music directors dictated that choice. It wa her choice and choices were made on her musical interests.

"Finally, have you ever spoken at length to conductors and others who are responsible for the programs of symphony orchestras about this very issue? I have. When they pay big fees to big names, they expect to fill the seats with paying customers. Less well-known music has to be presented in other ways."

Oh I've done better than discuss it with conductors. I've had the pleasure of watching a conductor/music director, Gustavo Dudamel (perhaps you have heard the name) have that discussion with none other than Yuja Wang. I can summarize it for you.

Dudamel: I want you to tour with the L.A. Phil next year on our anniversary tour and do a residence at Disney Hall and be the first soloist to record with me and the Simon Bolivar Orchestra. we should do the Schoenberg Concerto because of it's connections with L.A. and L.A. Phil

Yuja: I don't want to play the Schoenberg.

Dudamel: OK, let's do Rach IV. It also has special connections to L.A.

Yuja: Let's do Rach III. Let's record Rach III and Prok II.

And guess what they played on their tour and on her residency at Disney Hall.

A. The Schoenberg
B. Rach IV
C. Rach III

And what did they record together?

But yeah, I had the pleasure of discussing the subject with Debora Borda as well. It's quite the juggling act to plan a season at L.A. Phil



 

OK, no point in continuing this., posted on November 16, 2015 at 16:34:44
rbolaw
 I don't disagree with anything in that post, it just has nothing to do with the point I was trying to make, imo. I will try no more.

FWIW, the LA Philharmonic seems to be slightly more progressive than the NYP with its programming at the moment. Maybe Alan Gilbert is frustrated with that, and that's why he's leaving. At least the LAP scheduled the Rach 4 piano concerto and not just the first three. Maybe with Dudamel's star power and their great new hall they are able to fill their seats a bit more easily. But my comments about Gilbert and Dudamel are just speculation, I could be wrong, no need to debate. Over and out.

 

By all means, if my schedule permits (busy time of year for me)! BTW. . . , posted on November 16, 2015 at 16:55:25
Chris from Lafayette
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 . . . please tell Yuja that we want her to learn BOTH Glazunov concertos - and, while she's at it, could she also learn both Liapunov concertos and the Rhapsody on Ukrainian Themes too? ;-)

As you may know, in previous years, I've sometimes been competition for Yuja, since I was in concerts that were presented at the same time as her appearances. Sorry I was drawing people away! ;-)

 

Sure, I am a billionaire and on this forum, posted on November 16, 2015 at 17:02:01
TGR
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 Honestly, kind of a silly post on your part. I have served on a non-profit board of some size, and I know how these things work, but to say that the board and/or donors completely dictate the programming is really wrong.

 

Man, these babe musician posts do get contentious sometimes, don't they! [nt] ;-), posted on November 16, 2015 at 17:03:28
Chris from Lafayette
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Thank you nt, posted on November 16, 2015 at 17:16:51
Analog Scott
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 nt

 

Absolutely right about orchestra-part rental libraries, posted on November 16, 2015 at 17:17:22
Chris from Lafayette
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 One conductor friend of mine, Jason Klein, conducts a local orchestra here in the SF Bay Area - the Saratoga Symphony. He loves a lot of the out-of-the-way repertoire (just as many of us on this forum do), and tries to persuade his soloists NOT to play war horses. At one of his concerts I attended years ago, Natasha Paremski played the Scharwenka Concerto No. 1. And last week, I was talking with Theodora Martin-Serbanescu, and she mentioned that she played (or was about to play - can't remember which now) the Scharwenka Concerto No. 4 with Jason and his orchestra. BTW, many of these parts have not been under copyright for quite a while, and are now available on IMSLP. So all that an orchestra like the Saratoga Symphony needs to do is just print them out!

 

See my post above re the Saratoga Symphony [nt], posted on November 16, 2015 at 17:19:25
Chris from Lafayette
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  Since: February 6, 2012

 

Yeah, It looked like he finally agreed with me but was mad about it, posted on November 16, 2015 at 17:19:43
Analog Scott
Audiophile

Posts: 9933
Joined: January 8, 2002
 Anyway. he is right about L.A. Phil being far more adventurous with their modern programing despite the moaning one often hears about it at intermissions. They really are in a unique place in the classical world.

 

Moaning at intermissions!!!!, posted on November 16, 2015 at 17:31:58
rbolaw
 Well, that is a passionate audience. Are there privacy curtains?

I don't know about mad. Jealous, maybe. ;-)

 

"Just as many of us on this forum do", posted on November 16, 2015 at 17:45:10
rbolaw
 Maybe so. But I've just learned some here consider Tchaikovsky's 2nd piano concerto out-of-the-way repertoire. Others here seem to think music died with Rachmaninoff.
Of course, there's no point in arguing about any of that. Just as there's no point in slamming people for not yet listening to Janine Jansen's Brahms/Bartok recording. Sheesh, Chris, the CD isn't even out yet! It sometimes takes me years! So let's both move on.

 

RE: Moaning at intermissions!!!!, posted on November 16, 2015 at 17:45:58
Analog Scott
Audiophile

Posts: 9933
Joined: January 8, 2002
 c'mon it's L.A, privacy curtains? No way we have hot tubs in the lobby.

 

Sorry, I meant no disrespect to you., posted on November 16, 2015 at 17:48:44
rbolaw
 My post wasn't intended as a snide comment to your perfectly reasonable post which I completely agree with. It was really just a comment about the frustrating and sad state of most of today's American orchestras. Again, I apologize for any misunderstanding.

 

"music died with Rachmaninoff", posted on November 16, 2015 at 18:09:10
Chris from Lafayette
Audiophile

Posts: 26477
Location: SF Bay Area
Joined: February 17, 2004
Contributor
  Since: February 6, 2012
 Yes - how silly! Everyone knows that music actually died in 1957!

EDIT: I just realized you thought that you were among those in the "JJ looks old" thread (26,000 views and counting!) whom I was "slamming" for not discussing JJ's actual performances on her new recording. Actually I had other folks in mind - we're good. OTOH, just because the album is not out on CD yet doesn't mean people can't listen to the download. ;-)

 

No worries, posted on November 16, 2015 at 21:08:13
TGR
Audiophile

Posts: 3002
Location: No. California
Joined: March 22, 2004
 Thanks - maybe I was just having a tough day.....

 

RE: Moaning at intermissions!!!!, posted on November 17, 2015 at 04:02:57
rbolaw
 Does the audience moan after watching Yuja in one of her super short miniskirts? I'm definitely not getting in a hot tub with any of them!

 

Yes, you are right, posted on November 17, 2015 at 06:18:44
Amphissa
Audiophile

Posts: 2717
Location: Zardoz
Joined: March 9, 2004
It is possible to get the music for some lesser known works. There remains the challenge of convincing soloists to learn them and offer to play them, and orchestras willing to schedule them.
"Life without music is a mistake" (Nietzsche)

 

RE: Moaning at intermissions!!!!, posted on November 17, 2015 at 10:35:54
Analog Scott
Audiophile

Posts: 9933
Joined: January 8, 2002
 At the Concertgebouw one guy did have a heart attack before the first encore.

I wouldn't get into a hot tub with most of the audience at Disney Hall either.

 

You mean Van Beinum? (nt), posted on November 18, 2015 at 18:53:30
kuma
Audiophile

Posts: 10273
Location: IN
Joined: July 8, 2001
 .

 

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