Post by Peter January 16, 2008 (1 of 12)
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Those who have read the excellent review here, and even have this recording will be interested in reading an interview with Ms Stotijn in the current Feb 2008 BBC Music magazine.
On another matter,
A certain professor in Leeds
(the first line of a limerick?)
has discovered that all 24 notes in the theme of the Enigma Vars also occur in the hymn tune Eudoxia, reminding me of the occasion Eric grabbed Andre by the lapels and insisted he'd played all the right notes but not necessarily in the right order.
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Post by Beagle January 16, 2008 (2 of 12)
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Peter said:
A certain professor in Leeds ...
Was precise in his personal needs,
What others would flaunt,
He merely would count
And consider it the naughtiest of deeds.
Why is the cover different in Europe? I like the spinning toupée! Argh! I have become a collector of DLvdE! Stop me before I shop again (but not until I have this disc, thanks).
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Post by Peter January 17, 2008 (3 of 12)
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Post by terence January 17, 2008 (4 of 12)
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i have found sieghart's mahler 6 extremely impressive.
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Post by Beagle February 2, 2008 (6 of 12)
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Geohominid,
Last night I was up 'way past midnight,listening to several Das Lieds. First thing this morning I re-read your DLvdE/Exton review. I'll take your recommendation of the Arnheim/Sieghart disc at face-value, (I'm ordering it from JPC with the Pellegrini Quartet discs) but perhaps you can clarify what the tenor is like here.
In my egocentric opinion (IMEO), one of the great pleasures in life is having a second scotch on Friday night and listening to The Drunk singing about The Misery of the Earth. Knowing that, you will understand why I like my Erde-tenors to care less about their beautiful voices and more about the misery and booze (Li-Po the poet presumably drank more than he wrote). In your review you write, "...Donald Litaker really shows how this movement should be done, with heroic, buoyant, superbly focussed and controlled tone, able to keep his throat open even when hitting his golden high B flats...". Then you add, "He sings this not quite right Viennese waltz with drunken ardour, bitterness, insolence and great irony...". Are you are saying that Litaker manages to have it both ways, to be in total control and still be loose as a goose?
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Beagle said:
Geohominid,
Last night I was up 'way past midnight,listening to several Das Lieds. First thing this morning I re-read your DLvdE/Exton review. I'll take your recommendation of the Arnheim/Sieghart disc at face-value, (I'm ordering it from JPC with the Pellegrini Quartet discs) but perhaps you can clarify what the tenor is like here.
In my egocentric opinion (IMEO), one of the great pleasures in life is having a second scotch on Friday night and listening to The Drunk singing about The Misery of the Earth. Knowing that, you will understand why I like my Erde-tenors to care less about their beautiful voices and more about the misery and booze (Li-Po the poet presumably drank more than he wrote). In your review you write, "...Donald Litaker really shows how this movement should be done, with heroic, buoyant, superbly focussed and controlled tone, able to keep his throat open even when hitting his golden high B flats...". Then you add, "He sings this not quite right Viennese waltz with drunken ardour, bitterness, insolence and great irony...". Are you are saying that Litaker manages to have it both ways, to be in total control and still be loose as a goose?
Ah, the Art that conceals Art...
J
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Post by Beagle February 3, 2008 (8 of 12)
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Geohominid said
...this not quite right Viennese waltz...
--Perhaps what one hears here is the infamous wiener rubato, better known as the "Viennese lilt", and more obvious in the Strausses.
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Prior to posting a fuller review, I'd just to echo Geohominid's excellent review - a tremendous disc of Mahler which is conducted and sung with far greater poise and grasp of structure than many more famous names manage.
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Post by Beagle February 11, 2008 (10 of 12)
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Elsewhere I passed on the information that Oliver Sacks can't bear to hear DLvdE. But to balance matters, Shostokovich grew to love Mahler as he matured -- at the expense of Prokofiev, whom he grew to detest. (If Volkov's Testimony can be trusted; to me he sounds credible here.)
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