Recommended Posts

...have started, and boy are the clarinets out of tune in the opening movement of the Sibelius.

Edit: it appears they have the work experience on the master volume control. Just leave it alone on the loud bits...

Share this post


Link to post
Share on other sites

At long, long last though I have heard a piece by Sibelius that was so good I'd listen to it again. Interesting, subtle at times, melodious, I really did like it and I will try to find it on CD. But it was cruel to put him up alongside William Walton (29) who took the same subject and really did get a grip of it. I heard Willard White do it live once and I've never expected to hear that performance bettered. Christopher Maltman pushed him close tonight.

VB

Share this post


Link to post
Share on other sites
Moderator

The Walton was new to me, but spectacular. :^

Share this post


Link to post
Share on other sites

Edit: it appears they have the work experience on the master volume control. Just leave it alone on the loud bits...

Were you listening on FM?

Share this post


Link to post
Share on other sites
Deliberate simulation of an oriental sound I believe.

Whilst the title of the first section is Oriental March, there's nothing in the score to state that the Clarinets should be playing anything other than marcato, and only poco forte. By bar 17 it's marcatissimo (ie marcato - but more so). I'm thinking - and this isn't unusual from my own experience - that the conductor wanted a Klezmer style from the Clarinets. It cuts across the orchestra very effectively, adding colour. Should also be said that a Clarinet will blow slightly flat when at the limit of volume.

I enjoyed the Sibelius (and this is from a serial Sibelius-disliker) whereas the Walton still does absolutely nothing for me.

Share this post


Link to post
Share on other sites

As a fully paid-up Walton fan..... Belshazzar's Feast is magnficent music. Shame it has to be spoiled by all that awful singing.

Share this post


Link to post
Share on other sites
Super Wammer
At long, long last though I have heard a piece by Sibelius that was so good I'd listen to it again. Interesting, subtle at times, melodious, I really did like it and I will try to find it on CD. But it was cruel to put him up alongside William Walton (29) who took the same subject and really did get a grip of it. I heard Willard White do it live once and I've never expected to hear that performance bettered. Christopher Maltman pushed him close tonight.VB

I agree, I thought Maltman's power combined with great sensitivity and diction was superb, though hearing Willard White sing it would have been amazing. It's odd, my wife came running through thinking something was wrong last night but apparently I'd just reacted to the opening of the Sibelius. It seemed SO wrong. It did seem to come right quite quickly but I've never heard it like that before. I thought it sounded unrehearsed but I'm sure Richard will correct me.

Share this post


Link to post
Share on other sites
Super Wammer
As a fully paid-up Walton fan..... Belshazzar's Feast is magnficent music. Shame it has to be spoiled by all that awful singing.

Yup! But what a piece.

Share this post


Link to post
Share on other sites

Thanks for the Heads Up - I usually avoid because of the flag waving idiots. But, I once heard S being played by the SNO on a comedown and it completly blew me away. I'll check this out now!

Share this post


Link to post
Share on other sites
As a fully paid-up Walton fan..... Belshazzar's Feast is magnficent music. Shame it has to be spoiled by all that awful singing.

Live performances of this are tough. The chorus has to give a very great deal in the more shouty Bacchanalian bits, and the raggedness that can come from their increasing exhaustion as the piece progresses is in some ways part of 'the message', I feel. But it does mean that they can be flagging pretty badly towards the end. It's a difficult choice for the conductor. If he pushes them too hard early on then The Big Finish will sound tired. But if he holds them back too much then the early bits will sound tame. And he also has to judge the difference between rehearsals and performance. The adrenalin that comes with the latter can drive the singers to overdo it, but can also help keep them going when they're running on empty. I've never sung Belshazzar but I was in an amateur chorus that did Carmina Burana once and that can have the same problems. It wasn't made any easier by having a rehearsal in the afternoon before the performance in the evening !

VB

Share this post


Link to post
Share on other sites

I wasn't complaining about the quality of the singing. I'm sure it was fine. I was complaining about the fact that the singing is there at all! :P

Share this post


Link to post
Share on other sites

That William Walton eh ... what did he know :P:D ?

VB

Share this post


Link to post
Share on other sites

Work experience boy is back on the volume fader. Please give us some dynamics... (yes, on FM)

Mind you, yesterday's Beethoven was pretty good. Just a shame that it was paired with some pointless Stravinsky.

Share this post


Link to post
Share on other sites

oh that happy work experience chappy , he is going to get a slap if I meet him , anyway he has a pal in the mics too close too the percussion section dept in fact mr BBC why some nights things so ok , others same venue the use of mics is very poor I mean tubas and tymps sre not supposed to be heard close they are played by players who spend many ears trying to project there sound in to the oveall sound of the ensemble and one of your engineers sticks a mike in front of them and mixes the things, leave the mix to the conductor please, if he cannot hear something as he wishes he will indicate it to the players simple, I do wonder if there is very much musical context given to many of these outside broadcasts , or even just talk to a couple of musicians from the band , about how they feel the relay sound is , you might be surprised at how bad some of the performers think things sound . some times, but leading edge of viola because you got a mike near them and its wound up is not from my recal 6 years of serious music studies a effect often called for , keep going BBC because at least your giving it a go , . tuen down the compressor thingy

lowendall

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


  • Recently Browsing   0 members

    No registered users viewing this page.