Musicians we saw/heard live

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Not another language issue....?

parla wrote:

As long as Tjh express only his views and preferences, I do not see any "perplexing" issue if he finds some masterpieces of the most classic repertory as..."lagging" in their last movements.

What a bizarre response, Parla. Perhaps you should look up "perplexed" in a dictionary. It is perfectly conventional to be perplexed by other people's responses to art. Such perplexity often forms the basis of discussions in these areas. For example:

I found the end of War and Peace to be a bit........sluggish.

Oh, really? I am puzzled..........I thought it was very exciting. What did you find sluggish about it.....? etc

 

Another issue?..

Jane, I said I do not see any perplexing issue as far as questioning established classic masterpieces. Of course, for some people might be "perplexing" if someone claims that Beethoven's Fifth is noisy or boring, but how many people will truly embark on a serious discussion of any kind because of this personal view and does it really matter?

Parla

Obviously, you are

Obviously, you are contradicting yourself again, Parla. No need to discuss it any further.

prefer Asahi(na)?

As we discussed earlier, some believe the value a work of art is absolute; others feel that a specific, universal value can't be determined.

I feel I prefer Gwendolyn (Mok)!

Exactly, Tjh. Agreed.

By the way, I appreciate the verb chosen in each case ("believe" versus "feel"). And I do not see why one has to "perplex" the issue.

Parla

 

the never tiring nuisance

Jane, thanks! You took the burden off of me, whether to respond or not to the trifling argument raised by.. I am much less perplexed now as to why some old-timers of this forum remain vexed and showing animosity still.. indeed feeling the history and accumulation effect myself.

tjh, there is another. If you have read my other posts you would know whom I am listening to music for.  That's the one who ultimately decides the value of a specific composition.

DDG

  

The neverending story.

I did not "raise" the argument. I made a simple statement about the established value of classic masterpieces, which was developed to a short "trifling" argument. Of course, it might be more constructive for some people to discuss personal responses to works of art no matter how strange these response are.

Parla

To go back to Botari's

To go back to Botari's original post and intention, I've seen quite a few of the names on his list. Rostropovich, playing Dvorak's concerto, I'd put before all others.

low Karat, and probability of encounter?
botari wrote:

By the way, I prefer the initial issue over the Karajan Gold edition. The first one gives me harrowing feeling, vs. the latter sounds artificial at best.

Agreed. Also in Shostakovich 10 and Bruckner 7.

parla wrote:

In the 80s, a concerto of Rostropovich in his signature Concerto by Dvorak was a most memorable one

guillaume wrote:

Rostropovich, playing Dvorak's concerto, I'd put before all others

more of my opinions

Thanks guillaume for navigating the ship back to the initial course. I read your original post (to which I didn't have time till now to respond) so I am responding to it, not to the shrunk one currently showing.. Maybe you have an extremely high standard. Unlike you though, I think the conductor is very important in a symphonic concert. Otherwise I don't know what I am doing with thirty-something Bruckner 8th, for instance. Or why I thought each of the Mahler 9th I saw live was quite different, ranging from superlative Karajan/BPO, brilliant Solti/CSO, deeply satisfying & reflective Sanderling/LAPO to O-so-terribly-boring Tinsel Thomas' with SFSO (Yes, I find it outrageous that SF pays this zero talent $2 mil. salary while so many orchestras are struggling financially and the musicians are fighting to keep their jobs or the pay level). And the only reason the conductors were mainly discussed here was the other musicians were not brought up much in replies. Whoever brings up soloists' names among the ones I mentioned, I'd happy to relay my experience.

I did see Rostropovich's Dvorak in D.C. but I also saw him in recital a couple of times and also as conductor. The first time I saw him was in a recital and I was literally bowled over. He was everything one would wish for. He was also very generous, easily giving encores running onto the stage holding the cello in his hand. I would rate him as one of the greatest musicians I saw live, though his conducting was just OK.

I once bought Karajan's Shostakovich 10 on CD (the analog) and after reading somewhere that it had editing mistake (missing several bars) got rid of it - how come they don't do recalls?. And I lost much interest on the composer in the meantime so I never got back to it. Regarding his Bruckner 7th, it is interesting to note that I regard his EMI version one of the best while his last with VPO is the worst B7 I've heard, so unbrucknerian. I am not a big fan of his VPO B8 either, I prefer his earlier recordings. Of the DG set, the 5th is a gem, the rest expendable, the 3rd & the 6th simply terrible.

DDG

  

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