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In Reply to: RE: Blomstedt is ninety-four (!), and credits upstarts for posted by tinear on September 01, 2021 at 14:41:50
I don't find Blomstedt's recent Beethoven fast at all..... At least his 7th doesn't fall into the trap of being speedy and glossing over everything...... His 4th was somewhat "reserved"...... He did a very good Ninth......
He does like the "new" scoring, some of the "redone" phrasings in the Ninth I personally don't agree with......
Of course, when one has been around that long, the tendency is to gravitate toward alternative scores and alternative readings, just to keep the music fresh.
Follow Ups:
d
You're the type who would have abandoned Mozart's annual presentation of his new piano concertos, because you got bored by it and wanted something "fresh".
are somehow different from the tens of thousands of other musicians that have "opinions." Some of them, however, may not feel theirs is THE one. They also may understand what reducio ad absurdum is. Further, these most unusual folks may just realize that "corporate" isn't a pejorative: few musical venues or orchestras could survive without its sponsorship, promotion, production.How does one sift through the thousands upon thousands of selections out there? There are lists compiled by large groups of critics. You know, folks that, just like musicians, have risen through the ranks of their profession (journalism) because of their long-term commitment to the appreciation of music. Massing the consensus of these folks is the surest way to find musical gems. When different generations of these guys (yes, usually they have been men) agree on recordings, artists, and musical groups, the intelligent consumer (one without a blinding ego) most probably agrees these are indeed worth paying attention to. These are good starting points. One has to start somewhere; listening to the same pieces over-and-over ad infinitum, is something only a true dullard could do.
Edits: 09/06/21
The starting point is when an inexperienced listener doesn't have the self confidence to judge for himself, and instead has to rely on "consensus lists" from various critics (of various levels of expertise - LOL!) to try to develop his "taste". Sure, why not? - nothing wrong with that. But THAT is the real starting point.
Eventually, you get enough experience to venture forth from the safety of the consensus and start making your own informed decisions. But maybe you don't see it that way? Weren't you just posting recently that you read reviews more for their literary quality than for their musical insight? As I've already mentioned, that's pretty telling.
BTW, maybe you didn't see my recent post about Telemann's 12 Fantasias for viola da gamba, transcribed for guitar, which I downloaded last month:
These pieces were presumed lost but were found again in 2015, and this particular recording came out just last year. Were you saying something about listening to the same pieces over and over? If that's something which you're worried about, I heartily recommend the recording above to help you break out of your doldrums and expand your experience - it's good for you! ;-)
a mountain of hubris, and an apparently uncontrollable urge to mischaracterize: example after example of flying off to ridiculous conclusions is what follows.
For the record (or download):I find lists of recordings, I listen to some, I make a determination of which is most appealing. Fairly easy to understand. I suppose I could listen to fifty recordings a day, picked willy-nilly--- but then I'd be the venerable Chris from Laugh-yet(?). Why, next to you, we're all "inexperienced!"
Of course, you do realize that all listeners of recorded material are nothing but followers? Many folks before you have determined the worth of an artist and her interpretation.
I will grant that you are a compulsive-obsessive. And that your personality does not afford you the courtesy to discuss without innuendos, ad hominem, and reducio ad absurdum. Unfortunately, when a conversation becomes such, one is forced to respond in kind.
I am sorry, music appreciation awaits--- and you bore me.
"Why, next to you, we're all 'inexperienced!' "
Certainly, YOU are at least - it's obvious from your posts! And do I detect a bit of envy on your part at this situation? ;-)
"Of course, you do realize that all listeners of recorded material are nothing but followers?"
Huh? Followers of what? Followers of those "literary" critics you like?
". . . your personality does not afford you the courtesy to discuss without innuendos, ad hominem, and reducio ad absurdum. Unfortunately, when a conversation becomes such, one is forced to respond in kind."
Forced! Forced, I say! (BTW, it's reductio ad absurdum - not reducio ad absurdum - and the meaning is, " [a] form of argument that attempts to establish a claim by showing that the opposite scenario would lead to absurdity or contradiction". Now that you know what it is, maybe you can use the term properly? ;-)
No, the fact is that I'm dealing with someone not very knowledgeable, who thinks he knows more than he does but who envies people who actually do know more, and who harbors great anger and resentment about this. He attempts to compensate for this by bringing in social issues out of left field and arguing on that basis, rather than on his own musical knowledge. Yes - I think we have our psychological profile! ;-)
NT
...but only starting points. For example, Glenn Gould's first recording of the Goldbergs is a great starting point for getting familiar with the piece, but a lot of people have never heard Derzhavina's recording--I lucked out and picked it up from a closeout bin before critics started to write about it. Ditto the solo piano recordings of Scarlatti, Chopin, Mozart, and Bach by Dubravka Tomsic--I'm sure a lot of curious buyers like me picked these up for 99 cents a disc before critics started to mention her recordings.
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