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In Reply to: Norrinton Is Shooting For Mahler, Shostakovich & Bernstein posted by Neward T on February 08, 2001 at 16:37:54:
as a review closes in Gramophone recently, of course bashing almost everything which doesn't contain a fine British singer or isn't conducted by a fine British Sir Buttered Scones.I've really lost my appetite for this bunch of hoozahs after their review of Gergiev's Tchaikovsky 6 last year. At last someone who brought this piece somewhat similar to Furtwangler 1951 but in much better sound and more Russian than the Berliners and they tore it to shreds, they thought it was complete bugger and slightly 'too agressive'. I agressively tore the Gramophone to shreds.
Those English authentics are the worst, they claim a tradition they never had, since even the two most important British composers were German, iacta esta Haydn and Haendel, but they claim him with a vigour which is frightening, because only the Gardiners, Hogwoods and Norringtons of this world are able to play this music, not to mention when someone dares to play Vivaldi or Bach in a fashion which makes you forget that boring Academy of Ancient Music, it's burnt down and demolished, because it has a particular edginess. Yes, I like it when Vivaldi is being played on a real authentic Stradivarius, but can I please hear them play instead of caressing the strings in the English manner, that is without a hint of sexuality, gentlemanlike?
They live on an island, have preconceived ideas about Europe, glad the Channel divides them from us and cheer at the thought Sir Simon has taken over the Berliner Philharmoniker, licking their fingers for the Bruckner and Wagner that combination will produce. Christ, if all English conductors would be like Sir Simon, it wasn't that bad, but now they will only grow in their self-esteem and EMI and Decca will only launch more of this what you call 'Bolsheviks' as the Truth and nothing but the Truth.
Deep down in the sewers I heard the rumour that Mark Wigglesworth is God's gift to Shostakovich's music. At last, Russian orchestras are also obsolete, because the English know Shostakovich's music like no other and when Borington dares to lay his authentic hands on my beloved DEsCH I think it's about time to boycot those record-companies, because Kondrashin and Mravinsky will give me enough authenticity.
If it wouldn't be so sad, it would be hilarious.
Out of my house with all British composers, to hell with them, except for Haydn and Haendel of course.
Rob Ranting On and On
BTW, no offense to our British inmates, just a release of frustration. It's good for mental health, says Jasmine.
Follow Ups:
Mark Wigglesworth conducted my local band in Shostakovich 10. I didn't want to like him, but it was pretty darned exciting stuff. Haven't heard any Wigglesworth recordings, don't know if he's God's gift...but he bears consideration.
:-)
Regards,
Jorge
I can understand the rant against British conductors AND music critics. I cannot agree about composers. Vaughan Williams (in particular) was brilliant, and far-ranging in his styles and motivations. Actually, I don't know how someone who admires DSCH so greatly can fail to be impressed by his 4th Symphony (at least).For heavens sake, don't throw out the baby with the bath water...
Doesn't that make him Automatically Authentic?I know he's one of your favs.
anyday in late-romantic or romantic music over Sir Roger Norrington and his refusal to play spicato in music before 1850 or whatever our friend above claims to be truthful and right, even the Screaming Skull over that bunch of hacks, because the Skull at least has listened to Furtwangler, admired him and went on to do his own thing. At least the Skull had character.Did you know that Gramophone's reviewer thinks that Dietrich Fischer-Dieskau often pronounciates his German too well and therefore prefer Dame Janet Baker in for instance Mahler's Lieder?
Isn't it funny, hilarious and sickening even though mrs. Baker has a wonderful voice, but lacks that famous legato and the in-depth interpretation of a native tongue having recorded Schubert's 'Winterreise' so many times I stopped collecting them?
Rob
While you may not always agree with Sir Georg's artistic interpretation of various pieces of music, I think that referring to him as "The Skull" is a very demeaning name for a man who whether you agree or not brought countless hours of enjoyment and entertainment to many people around the world. It was Sir Georg who sparked my interest in classical music. I had always wanted to see him conduct and count myself lucky enough to see him do so on the very last time he led the CSO. I work for a Co. based in Chicago and on my very first time in the city was walking by Orchestra Hall and a lone woman (wearing a fur coat and tennis shoes) was selling a single ticket for the Sat. matinee! I sat in the front row (not the best place to sit acoustically) and watched him front his beloved Orchestra for the last time in a performance that included Shostakvich #15 & Mussorgsky Khovanshchina Prelude truly an afternoon to remember for me. Now I'm lucky enough to have it on cd! People will always have their favorites and biases when it comes to interpretation. Many people like Karajan and think that he is the God of all conductors! Personally, I have yet to hear the piece under his baton that moves me they way other conductors like Monteux, Szell, Tilson-Thomas, Bernstein, Zinman, Martinon, Janson and Munch to name a few have. Sorry to ramble here, but I really felt the need to defend the memory of a man that brought me to love and appreciate classical music. Happy listening!
Rob's right, the musicians gave him the name. I even saw him scream at the audience once when a lady coughed while they were attempting to record.I was lucky enough to attend one of those last performances; I think I had either the Thurday or Saturday evening, I can'r recall. Stuffed the program notes in a box of books, and discovered it recently. Glad I accidentally saved it.
.
nt
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