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Messages - Thompson1780

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1
20th Century / Re: York Bowen
« on: April 09, 2015, 11:28:37 pm »
Indeed, I first was attracted to the work by the Callus recording.  But imagine my horror when I found out she cuts from bar 91 to bar 361 in the last movt - a movt which only has 608 bars.  It does completely unbalance the whole work.

I like her sound, and I do like her cadenza too - but she doesn't stay true to the score in other ways either.  The most gorgeous part of the work is in the second movt where there is an accel and cresc from bar 138.  It continues to cresc through a rit from bar 144, until the solo part is at fff in 146.  Then there is a continued rit and massive dim over 2 bars to p, where the orchestra come in a tempo with mf.   The overall effect is completely head twisting (and if you excuse me being crude, is close to orgasmic).  However, Callus ignores it completely, and crescendos right through to the orchestral entry.

Whilst I have an issue with Lawrence Power's sound and tone production in places, he is very true to the score.  It is the best of the 3 recordings.  Doris Lederer is good too, but somewhat too mellow.  There are errors with both recordings, but none so major (in my opinion) as the Callus choice of massive cut and killing the climax of the work.

I am setting myself some very high standards to live up to.  All going well so far, although I do appreciate that my performance choices may change - and I may even appreciate what Callus does more in a few months' time!  For the moment, I agree with Greenfield.

Tommo

2
20th Century / Re: York Bowen
« on: April 07, 2015, 04:09:58 pm »
Oddly enough, auto, a cellist colleague has just alerted me to Glen and I've sent her an e-mail with a few queries.  Hopefully we can help each other.

And in other developments, apparantly the RAM scores are all littered with blue markings - which are generally regarded as those of Henry Wood.  So it could be interesting if it turns out YB didn't endorse the cutting of those 4 bars near the end......  Lots more investigation to be done.  I'm quite enjoying this archaeology stage of preparing for a performance, and the huge help I'm getting from all quarters.

Tommo

3
20th Century / Re: York Bowen
« on: April 04, 2015, 10:15:14 pm »
Had a really fascinating afternoon yesterday at the Royal Academy of Music, London, studying the original orchestral score (from October 1906) of York Bowen's Viola Concerto. I also managed to have a quick flick through the original piano reduction from 1907.
The 1906 score is mainly in black ink. There are some red ink additions, mainly tempi markings, and occasional extra notes in the orchestral strings. I suspect these were York Bowen himself, as the handwriting is close match to the black ink.
The score also has pencil - in particular a note about two extra bars of cadenza. The 3rd and 4th bars of the cadenza's final allegro assai in the Weinberger edition do not appear in the original, I think the pencil must be Tertis - but could be YB himself (also a viola player).  A chap on F-B says that Tertis wrote the cadenza, so perhaps someone missed a couple of bars when writing out the orchestral score...?
And the orchestral score also has lots of blue pencil. This is an extravagant hand, and different from YB's meticulous detailed writing. The Blue also appears in the original piano reduction, crossing out all the optional cuts, and actually crossing out a further 4 bars. These 4 bars are not in the Weinberger edition, and would sit between 579 and 580. I'd love to know if this Blue was YB himself. but I suspect it is Landon Ronald, preparing with Tertis for the March 1908 premiere.
John White, in editing the Weinberger publication, does state that his editions are led by the original solo part Tertis used (which was in Harry Danks possession). This of course, I have not seen (and would love to!). It must have very different articulation and dynamics from the original. However, it does show that there are very many differences between composer's original thoughts and the first performance - sure Tertis and Bowen agreed much of this, but would love to know what was discussed!
It's also been a joy dealing with publishers and the RAM getting this far.  Alex at Weinbergers and Kathryn at RAM have been incredibly helpful.  I really hope I can do this justice in the performance!

Tommo

4
Announcements / Re: Simon Howard
« on: March 26, 2015, 09:38:00 pm »
Sorry I couldn't be there, but so glad that the evening went well and was a fitting tribute to Simon.  Feel somewhat humbled that I'm a little connected to such a wonderful bunch of people - this forum really is very special.

Tommo

5
20th Century / Re: Frank Martin
« on: March 16, 2015, 02:16:20 pm »
So: the main things that stuck in my memory from my Martin listening was the Concerto and especially its slow movement, and the jazzy bit of the trombone Ballade, and John Harle's paint-stripping performance of the alto sax one. Slightly more intrigued than I have been previously. Something else I did rather like was this Petite symphonie concertante for harp, harpsichord, piano and strings. Actually (listening again): I think this will have been the piece that unlocked FM for me.

That's the only Martin I've heard.  My orchestra, West Forest Sinfonia, performed it in Feb 1999.  Can't really remember much of it and wouldn't be able to tell you how it goes, but I think I'd be able to recognise the work agan if someone played it to me (or when I get to a computer that can play that youtube link!).  I have a memory thta it was visceral and earthy - and that I liked it.  Anyway, the main point is that it wasn't hard to perform, and was rewarding - so Martin should get a bigger press!

Tommo

6
20th Century / Re: York Bowen
« on: February 19, 2015, 10:10:25 pm »
Thank you both.  Useful.  Investigations continue.

7
20th Century / York Bowen
« on: February 10, 2015, 09:55:50 pm »
Very little on York Bowen on this forum.  Small snippets, like how good Hough's recordings of the Bowen Piano works are, and this...

....York Bowen as the "English Rakhmaninov"

I have a sneaking suspicion that I'll be getting to know a lot more about him over the next year.  I've committed to performing his Viola Concerto on 26 June 2016.  If I'm doing something big like that, I'll spend a lot of time finding out about the composer, the genesis of the work (in this case, it's yet another viola work written for Tertis ), and the actual detail of the work.  (In this case, there are some inconsistencies in the score and even more between the 3 recordings I can find, which I am going to have to investigate with the publishers / RAM.)

Please share any insight into Bowen that you may have.  I'll let you know how I get on too.

Many thanks

Tommo (aka Hull1990)

8
The Concert Hall / Re: Forthcoming Concerts in Berkshire
« on: February 10, 2015, 09:39:59 pm »
Another outing for my alter ego, Hull 1980.

Shostakovich Piano Quintet in G Minor op.57
Dvorak Piano Quintet No.2 in A Major op.81

Sarah Down, piano
Members of West Forest Sinfonia

Sunday 15 February, 3pm
Recital Room, South Hill Park, Bracknell
http://www.westforestsinfonia.org/
http://www.southhillpark.org.uk/

Hope you can come and enjoy!

Tommo

9
The Coffee Bar / Re: What has made you smile today?
« on: February 09, 2015, 09:43:42 pm »
Ah. Yes.  :facepalm:

I'd never previously thought of that actually.

Do you think he was acquainted with Walter Piston?

When I was younger, Dick Emery was thought to be amusing.  Now his name simply brings a tear to my eye....  ;)

Tommo

10
The Coffee Bar / Re: What has made you smile today?
« on: February 09, 2015, 09:41:50 pm »
I'm sure even the good servers at google are tired of answering the question (NSFW!) of how long it takes to travel from this town to this other town ;)
Hmm. Takes quite a while in a car. Maybe better to get out of the car and find a more suitable venue.

This is a somewhat safer route.

Tommo

11
20th Century / Re: Patrick Gowers
« on: January 31, 2015, 01:52:01 pm »
I've been catching up on Smiley's People via iplayer.  Super series.  Fabulous cast and some wonderful acting.  There are lots of still parts with no music, which gives it a bleakness and cold war feel - but when it does come, the music (by Patrick Gowers) is super too.  Simple in many ways but has a tension all the way through - just right for the subject.

Tommo

12
The Coffee Bar / Re: Separated at birth
« on: January 26, 2015, 09:54:28 pm »
Fair enough....

...how about these two?

Egon Foulds (ghost-composer)                                                                  John "Buster" Spengler

13
The Coffee Bar / Re: CAPTIONS!
« on: January 22, 2015, 11:20:52 pm »


Bloke in the second violins:  Blimey!  If he can get Barbara  to do that at work, imagine what he can get Magdalena to do when he gets home......

14
The Coffee Bar / Re: Separated at birth
« on: January 22, 2015, 11:15:49 pm »


Jack Terfyl and Bryn Bauer

No?

Tommo

15
Does anyone spot the Russian for 'Kitchen'?

Tommo

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