Review: Itzhak Perlman--Complete Sony and RCA Collection
ฝัง
- เผยแพร่เมื่อ 20 ส.ค. 2020
- So, is this 18-Cd set any different from the previous Original Jacket Collection or the 9-CD budget box? Well, yes--it's more complete. One correction however: the Chausson Concert is indeed in this box and the previous budget box! My bad. Does that matter? Not really in my opinion, but you can watch and decide for yourself. On the way we have a cat emergency and a few tips on playing the triangle.
- เพลง
I had the pleasure of playing all five movements of the Lalo behind Perlman when I was in college (about 50 years ago). The trombone part in the last movement is almost as interesting as the triangle part. It's basically the first three notes of "Three Blind Mice" repeated ad nauseum. I spoke with Perlman backstage after the concert, and he couldn't have been nicer.
The Prokofiev second concerto was originally issued with the Sibelius on an LP. I owned it; it was perhaps Perlman's first record, and it was wonderful! The sonatas were on a different LP.
But not on the cover of the CD! So at some point the art got switched around. I had them on Gold Seal LPs, but I don't remember exactly how they were coupled. Thanks for the clarification.
Good video Dave, even for the cat and the triangle tips alone! btw I watched your Mahler No 3 talk looking forward to what would surely be confirmation of my good taste in buying the Jascha Horenstein recording, eagerly anticipating what terms of glowing praise you'd use ......😳 Anyway, I've downloaded the Ivan Fischer recording! :)
LOL - I had never met Pipo before. Your lament about the Lalo Symphonie Espagnole was fun too.
Now I know not to water my yard while listening to David Hurwitz. I slipped in the mud from laughing so intensely.
Hah! The non-Perlman bits were better than the Perlman bits. The demonstration of the triangle part in the Symphonie espagnole finale: priceless. Nice discussion of anonymous violin playing, just as modern orchestras seem also to have lost their individual personalities. Good to see your cat again.
And so ends the review of the review...phew! Thanks.
Beautiful Cat!!
Thank you! 😊
Haven’t laughed at a video in a long time! The cat, the triangle..
For the benefit of all, Chausson concerto for Violin, piano and string quartet is in the Sony 9CD budget box
Yes, I corrected that in the description above. My bad! Thanks for pointing it out.
@@DavesClassicalGuide
this only further confirms your review
@@pascalrousseau1 Thank you, yes. The conclusion is the same either way.
Abel triangle. I've never seen a knot tied like that before to suspend the instrument. Also what is the blue string?
Also, love the cat guest appearances.
Also also, I find original jacket sets a little annoying too.
Cheers David. Thanks as always for the good craic.
The blue string is just good, strong, thin nylon cordage. It works better than the plastic thing that comes with the clip, and which has a tendency to break too easily. And yes, it is an Abel. My Grover is in my other bag.
As I said before, I find your channel to be the best educational channel on the entire internet and I watch your clips with much interest but please don't smash the cd's on the table after you talk about them because it is picked up by the microphone and it is banging on my ears. Thanks!
Sorry. I get carried away sometimes.
Hi, Kitty! That was fun. I've not seen your cat before. Does she like Lalo?
She likes R&B.
:-) Excellent!
@@DavesClassicalGuide Rodents and birds.
Do you have the DG Complete Records Unboxing?, I'm new in this and i wanted to know what is the difference between this box and the DG Box
Maybe a review of Lalo's Symphonie Espagnole is on the cards? I can understand why folk are not buying cds anymore. Record companies cannot even be bothered to get the right covers for the contents on the discs. Pepo the star in this review.
Don't hold your breath.
Poor Lalo. Okay, the Espagnole is bull, the "Roi d'Ys" is rezitative (but I like it, I must confess) - but there is a ballett, "Namouna", and this has in my opinion nearly the freshness of Chabrier.
Namouna is his best work, I think. I like it too, but again, it shows what he could do when he wasn't writing in large forms.
Dave, I can’t disagree with you about Lalo. But even Lalo had one golden moment - the Aubade and villagers chorus from Le Roi d’Ys, preferably sung by Vanzo. Sublime.
Everyone has a golden moment, but then, Lalo was much better when he wasn't writing in large instrumental forms.
Does your proscription against chinless composer also apply to Zemlinsky?
No. He was honest about it.
Ida Haendel with Ancerl and the Czech Philharmonic make a convincing case for Symphonie Espagnole, I think. But then I tend to like the noise the Czechs make.
I love those no-nonsense Sony budget boxes and own several of them; based on this review, sounds like there’s not much reason to purchase this new box. I’m digging the percussion pedagogy. I’m also no fan of the Symphanie Espagnol. One of those pieces that just leaves you asking why you invested your time listening to it upon completion. Dave, do you have an LP overflow room too or did you downsize your vinyl collection over the years?
I got rid of all of my LPs. It was just too much.
David Hurwitz fair enough. I have some treasured favorites on vinyl but at this point, don’t plan on acquiring too much more.
Your cat maybe was looking to see if he could escape through the window at the mention of Lalo; I agee with what you said and what your cat thinks about him; but I also have the same desire to escape whenever anyone mentions Felix Mendelssohn.
Keep on listening.
I don't think I'll ever listen to Lalo's Symphonie Espagnole in the same way again.
Regarding the Symphonie espagnole....and I thought the trombone part was boring!!!!!
I don't have David's musical acumen (which is admittedly tremendous) :) Can only speak as a listener. But I think Isabelle Faust (to take one example) uses very little (to zero) vibrato yet still manages to create a unique sound signature. And there's still Young Turks who do use it. Like Eldjborg Hemsing: th-cam.com/video/rU3CxseeLkc/w-d-xo.html (It's a charming short docu-film on her Grieg CD)
PS -- If anyone knows about the best vibrato vs. non-vibrato comparison (or "showdown") vid I'm all ears. Thank you. :)
PPS -- Did I use too may parentheses in this post? ;) ;)
You didn't explain what's wrong with the Stern/Perlman/Zukerman/Mehta record from Stern's 60th birthday! I'm so curious as to what you don't like about it.
I didn't say anything was "wrong" with it. I just doesn't interest me. Gala concerts like that seldom do.
@@DavesClassicalGuide I see. Thanks!
Clicked fur the cat not for Perlman.
I can't blame you.
Fur, not for? Freudian slip, or a predilection for the German without umlaut, or ...?^^
@@colinwrubleski7627 fur for the feline furiend
I like the Symphonie Espagnole!! (But not Perlman). Too much junk in that box!
I can understand why a record critic would find the sameness amongst period violinists rather boring. You have to listen to a lot more of their records than most of us do. But I am reminded of this article by A. Peter Brown, "'Amadeus' and Mozart': Setting the Record Straight":
'According to the film, the basis of Salieri’s jealousy was his desire, while still a boy in Italy, to become “a great composer like Mozart”… But the idea, postulated around 1760 by an Italian youth, of a “great composer” is a concept nearly a half-century ahead of its time and almost entirely a nineteenth-century Teutonic idea… In Mozart’s time the prerequisites for a composer were neither genius nor the assertion of an individual artistic personality. Rather, it was a question of craftsmanship and the ability to provide new music appropriate to an occasion. A lexicon of musical ideas existed, designed and accepted for certain types of expression. A composer could select from this bank and create a musical product fully comprehensible to his audience. Mozart was able to manipulate this vocabulary both technically and affectively so as to create new depths of expression. It is within the essential style of the eighteenth century’s last decades that Mozart operated. Thus, one should not be surprised that the man and the music may not have been congruent.'
So as I understand things, a composer or violinist of the 18th century would not have sought to have a distinctive artistic personality the way a 19th century composer or violinist would have. Musicians of the time thought of their job more like chefs do today: while there is a small degree of room for a chef to put his own unique touches on a dish he prepares, his job is primarily to provide his customers with the taste of the dish they are expecting. So it makes sense to me that the period violinists end up sounding the same. That is their goal.
That is the silliest thing I have seen in quite a while (not you, the quotation). It's so typical of what we get from people who would rather philosophize than listen to what composers actually did. Taken as aesthetic or intellectual history, it is not only an absolutely moronic statement, it it entirely opposed to what composers themselves were doing and saying about themselves and their work (never mind what today's period instrument violinists would make of it).
@@DavesClassicalGuide Is that so? If Brown is wrong to write that, I would be interested to know why. I am aware that you've looked into such scholarship and found it wanting. Have you collected any musicology that would rebut Brown's idea?
@@DavesClassicalGuide My experience of many academics has been that when they finally replace their former professors, they seem to want to replace the ideas of the previous generation of scholars with whatever is fashionable to their generation. So do you think the anti-Romanticism in Brown's article comes from that impulse? A petty desire to correct older musicologists who admired and endorsed the Western musical tradition?
@@DavesClassicalGuide If Brown is wrong, then I do understand your frustration with the HIP movement. When I went to music school, though (later '90s and early '00's), those were the ideas with which I was presented.
@@james.t.herman Tons of it, but this is not the time or place for such a discussion.
I've always disliked the first movement of the Lalo. I really, really like the 2nd movement. I think its very atmospheric and would make a great encore - in the vein of Saint-Saens's Havanaise. But really, I never listen to the whole 5-movement monstrosity.
Interestingly, Heifetz often played the Lalo with cuts. Big cuts - not with scissors, but with one of those paper guillotines. Seriously.
But great violinists love the thing, from Heifetz to Perlman to Tetzlaff. It is really a violinist's vehicle, and as weak as it is, it's certainly better the Viotti, Vieuxtemps, or Wieniawski. Yeah, that's not saying much, I know.
Actually, Viotti is pretty good.
I heard him live in London years ago and he was a great player but his recordings are a no no especially compared with the young competition of today. Yes, he insisted on being upfront in the studio and his early cd issues are unlistenable because of this.. Stick to his chamber recordings !
I think it depends on how much you like the sound of his violin. The "young competition of today" has plenty of chops, but he had the personality. Now, of course, you may not LIKE his personality, but he was unapologetic about it--the music was all about him, but remember discs like the Beethoven concerto with Giulini, which showed he could play with great taste and refinement too. He was not a vulgar virtuoso in that music, or the Brahms, or, as you say, in chamber music.
I can only agree that Lalo’s Symphonie espagnole is garbage. His Cello Concerto is better if only because a theme in the finale sounds like the Banana Boat Song!😄
But your talk was so much fun!!😁