Post by channel January 13, 2010 (81 of 92)
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audioholik said:
+1
http://www.youtube.com/profile?user=channelclassics#p/u/0/A17KP89kRco
On Youtube is a short version with Dejan talking about his arrangment.
On our web site is a 17 minute version where Dejan gives examples of how he went about making this.
You can put Dejan in front of a full concert hall with tv cameras and he does not blink. But to make a simple video talking was really special. Nervous, dry mouth, alot of 'hmmms and ahhhs'.
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channel said:
You can put Dejan in front of a full concert hall with tv cameras and he does not blink. But to make a simple video talking was really special. Nervous, dry mouth, alot of 'hmmms and ahhhs'.
he he :) the most important part to me was his playing, very impressive.
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Post by hiredfox January 14, 2010 (83 of 92)
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rusal said:
This is a weak argument, since most composers of the 19 th century, initially composed on the piano...
What a nonsense!? What is the author's opinion on calling "this" Brahms' Piano Concerto #3? No more reading Gramophone after such oxymoronish two page articles.
Especially provocative is that the author welcomes many cover version from about 2012! On my part, in nearest future i would better listen Fitkin piano concerto or Xenakis SYNAPHAI or Eonta on SACD, something more legitimate.
Just to clear the point, I was quoting the author of the article in 'Gramophone', Piere Ruhe - these are not necessarily my views.
The point about cover versions and concert performances was intended as irony, maybe sometimes too ironic?
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Post by hiredfox January 14, 2010 (84 of 92)
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channel said:
On Youtube is a short version with Dejan talking about his arrangment.
On our web site is a 17 minute version where Dejan gives examples of how he went about making this.
You can put Dejan in front of a full concert hall with tv cameras and he does not blink. But to make a simple video talking was really special. Nervous, dry mouth, alot of 'hmmms and ahhhs'.
If you can stand flattery I think your publicity campaigns recently have been absolutely brilliant; if only other SACD promoters would carry their standard with equal fervour, Robert excepted of course.
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Post by pgmdir January 14, 2010 (85 of 92)
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That's one thing about the CC website I really like: The artists are shown to be approachable--- talented, knowledgeable, nice people, not stuffed shirts in tuxedos.
The video with Lazic is informative, and I will probably want to return to it once I hear the final product. I figure a week after the release date to cross the pond and get to Washington State...
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Post by pgmdir January 15, 2010 (86 of 92)
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I don't know why I expected the same release date as UK on the CC site. I got mine already!
I don't want to reopen the discussion about what this piece should be called, but I will tell you that I think Brahms would be pleased.
I loved it! I am not competent to discuss Lazic's emulation of Brahms' piano composition, but I will tell you that it flowed naturally and sounded, even in the familiar tune of the final movement, like it was intended to be heard this way.
I was a bit nervous about what I was going to find with the engineering. This was a live performance which was going to be broadcast, and Jared was allowed to utilize his own equipment to get the DSD for this SACD. I find the sound to be totally involving and very natural. It's certaily up to CC's consistantly high standards. The multichannel is excellent.
Finally, I've not responded all that well to Spano's work in the past--- I remember writing on this forum that his Vaughan Williams sounded more like Mantovani to me. But The Atlanta Symphony was a very fine part of this whole event---taking a back seat to no one. There was tension, smoothness-- beautiful music all the way. My hat is off to Maestro Spano.
I will say again that I am a long time listener, and a long time underfunded audio nut, but I don't pretend to be able to describe the nuts and bolts of the music in the way that many of you can (Seth!).
The Rhapsodies and Scherzo are beautifully played and captured as well.
Recommended VERY highly by
Bill
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Post by pgmdir January 24, 2010 (87 of 92)
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Thanks to Castor for a great review of this which covers my points far better than I did in the privious post.
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Post by Castor January 25, 2010 (88 of 92)
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Thanks Bill
I think your previous post echoed my enthusiasm for this recording.
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tream said:
Like I said, Jared, arrangements, orchestrations, etc. have been common and are a part of music history. Nothing wrong at all with this one, either. And looking at the cover again, it is pretty clear that this is an arrangement by Lazic of the violin concerto. I just don't agree with the assignment of this work as Piano Concerto No. 3, because Brahms didn't write a 3rd piano concerto. Should we now wait for the arrangement of the Double Concerto for piano and call that No. 4?
Does it really make a difference? It's a clever marketing maneuver.
The piece is very interesting and I've listened to it many times. I think Brahms got it right originally writing it for the violin, but I think Lazic's interpretation is also beautiful.
A bit too much over analysis from this crowd.
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Post by Fugue May 25, 2012 (90 of 92)
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I enjoy both versions for different reasons: the violin for its "bite" and ability to sustain lines; the piano for its increased grandeur and power. I can equally enjoy each for what it "brings to the table." I wonder how many times Lazic has played the piece since its premiere?
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