'sony a7'에 해당되는 글 37건

  1. 2016.03.11 "Complete Recordings"
  2. 2016.03.02 ca. 110
  3. 2016.02.26 Lost in addition
  4. 2016.02.22 Untitled
  5. 2015.09.10 Untitled

"Complete Recordings"

Photographs/2016 2016.03.11 22:00


As far as the classical repertory is concerned, compared to the magnificently active campaigns of new recordings from the 1930s to the 1980s, the major companies have largely become reprint houses. When the backlist is exhausted, perhaps the making of new records will be invigorated, or perhaps some of the large companies will judge it more expedient to go out of the classical music business altogether. For many it is only an icing of prestige on their real economic activity.


—Piano Notes: The Hidden World of the Pianist, Charles Rosen



March, 2016

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ca. 110

Photographs/2016 2016.03.02 19:19


In 1960 Witold Lutosławski heard John Cage's concerto for Piano and Orchestra on Polish radio. It proved to be a seminal experience: "Those few minutes were to change my life decisively... While listening to it, I suddenly realized that I could compose music differently from that of my past."

[. . .]

Lutosławski's Piano Concerto is dedicated to the Polish pianist Krystian Zimerman, who introduced the work to Salzburg audiences in 1988.


—Klaus Oehl, translation by S. Spencer



March, 2016

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Lost in addition

Photographs/2016 2016.02.26 10:00


In two letters to Nikisch, Bruckner mentions that 'many important things are not marked in the score, including frequent changes of tempo' (letters of 17 July and 5 November 1884, i.e., before the first performance). Evidently, the solution to the mystery of these entries is that they were the result of instructions which Bruckner gave by word of mouth, most probably after the performances of the symphony on two pianos by Josef Schalk, Löwe and Zottmann, and must have been entered into the score on his authority. Since they are not in the composer's hand, they have been placed within square brackets in the present edition. This is one of the very rare instances when verbal instructions of Bruckner's, backed up by passages from letters, can and must be taken into account in addition to the autograph itself.

The same applies to the controversial cymbal clash at rehearsal letter W in the Adagio, which was later inserted by Bruckner on a separate piece of paper. It stemmed from a suggestion by Nikisch, as the previously cited letter by Josef Schalk of 10 January 1885 shows: 'You may not know', Schalk wrote, 'that Nikisch has managed to get us the clash of cymbals in the Adagio that we so badly wanted (C major, 6/4 chord), as well as triangle and timpani; this pleases us no end.' Contrary to what is said in the first edition of the score, it is questionable whether the adjacent words in the autograph, 'gilt nicht' ('not genuine'), which would appear to revoke the addition, originated with Bruckner himself, since the handwriting is very different from the composer's.


—Leopold Nowak, 1954



February, 2016

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Untitled

Photographs/2016 2016.02.22 22:15


"The business of making records has worried me so much and I'm only just beginning to come to terms with it or, rather, I've found a solution. I'm delighted to say that I've made my last "studio" disc. From now on everything will be live, all or nothing, selected from a mountain of tapes waiting for me in Paris. I cause lots of problems because I don't believe in editing and splicing—a bit of this, a bit of that. I never play anything the same way twice, the acoustics vary from hall to hall and so do the off-stage noises of my audiences. My producers and engineers tear their hair out on my behalf but I refuse to compromise. I believe in the real thing."


From an interview given in 1997.



February, 2016

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Untitled

Photographs/2015 2015.09.10 19:15



September, 2015

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