In Short: Splash

In Short: Splash

In short, I think the division of music into good and bad, even perhaps more shockingly into what one likes and what one doesn't like, is a bit of an ass puddle. This isn't to say you cannot or should not have an opinion if you like. Have any opinion you will. But opinions too are a bit of an ass puddle. Wouldn't it be a classic to find something a little more substantial to set one's foot to? These puddles, after all, dry up and blow away so soon, so soon. You didn't like that yesterday, today you might. It changed your life, now you could as like to flush it. I'm not even sure there is a proper way around these matters. Music is a special case. We'll have to speak more about why.

Fred Hersch is a beautiful player. This is an interesting and well-written expo of his recent tribulations, which I very much wish he hadn't had to go through.

Thanks to @concertmarvel for bringing this to my attention.

Correct me if I'm wrong, but unless the symphony is tied, isn't the game over?

readmorewikipedia:

ihatemusic1943:

The curse of the ninth is the superstition that a composer will die after writing his ninth symphony, but before he has an opportunity to complete his tenth. The most prominent examples are Ludwig van Beethoven, Louis Spohr, Franz Schubert, Antonín Dvořák, Ralph Vaughan Williams, Anton Bruckner and Gustav Mahler.

Wikipedia surprises me every day. I never expected to have an entry on this urban legend.

Curse of the Ninth

In a world of Taylor Swift... talk about heterogeny!

atonalitydotnet:

Elliott Carter: Two Diversions, performed by Pierre-Laurent Aimard.

komangography:

violinplayah:

blogthoven:

nostalgiya:

In Grozny Central Park, February 1995.

(via)

Brahms Through Schiff & Solti

Now it's Schiff with Solti playing the Brahms D minor via Rdio. Georg really slowing down the 2nd theme. Gould was right that his infamous "slow" version committed no particular tempo sin except essentially keeping it intact. Of course it would be easy to make this observation (aural equivalent) every time I hear this concerto, but I can't think of anyone off the top if my head who really subverts it; who takes, for example, the opening theme at a breakneck and then really slows it down, or completely genuflects at the piano's entrance. I'll have to do some listening.