R3 in Concert one-stop shop

[smittims]

I understand that some singers feel a 'break ' in the middle of their voice (i.e that it's in two 'registers' , like a woodwind instrument, or like two storeys in a building)). . Others deny that such a thing even exists. It seems to be a very personal thing. But then a singer's voice is , I feel, a more personal thing than ,say, a wind player's technique and sonority.

[Prommer]

Good concert coming up on Tuesday which I attended (in person, gasp!) last night at the RFH - LPO doing the Emperor Concerto with Yefim Bronfman and then the Tchai 5.

I shall have comments...

[AuntDaisy]

Over on Twitter, Ian Skelly on tonight's concert - Olivier Latry & Víkingur Ólafsson playing Saint-Saëns Organ Symphony & Beethoven Piano Concerto No. 3.
Looking forward to hearing this (while our windows rattle in sympathy with the glorious organ.)

https://www.bbc.co.uk/programmes/m002jsy3

[Ein Heldenleben]

Over on Twitter, Ian Skelly on tonight's concert - Olivier Latry & Víkingur Ólafsson playing Saint-Saëns Organ Symphony & Beethoven Piano Concerto No. 3.
Looking forward to hearing this (while our windows rattle in sympathy with the glorious organ.)



https://www.bbc.co.uk/programmes/m002jsy3

It sounded splendid . I preferred this performance to the recent Proms one

[Pulcinella]

It sounded splendid . I preferred this performance to the recent Proms one

Certainly a very different organ sound (stating the b****ing obvious)!
What became of the organ in the building where the work was premiered, I wonder.

[AuntDaisy]

Certainly a very different organ sound (stating the b****ing obvious)!
What became of the organ in the building where the work was premiered, I wonder.

Excellent concert, I really enjoyed the Beethoven & Saint-Saëns.

According to Paul Tindall on Facebook... (And with help from Google.)

Paul Tindall
Bryceson Bros & Ellis 1882. Rather extraordinarily the site of the first performance of Saint-Saëns’s 3rd Symphony. Removed to High Wycombe Town Hall after the hall was demolished in 1905. Rebuilt Conacher 1929, Osmond I think 1970s. Scrapped 1980s.

[Pulcinella]

Thanks, AuntD.
If the organ wasn't anything special, I wonder how 'authentic' performances are with the overwhelming (but great fun!) outburst in.

(I'm doing a lot of wondering at present, ha ha!)

[AuntDaisy]

Thanks, AuntD.
If the organ wasn't anything special, I wonder how 'authentic' performances are with the overwhelming (but great fun!) outburst in.

(I'm doing a lot of wondering at present, ha ha!)

We clearly need a HIPP version ... and an audience with (appropriate) Piccadilly weepers.


1858 illustration from Wikipedia.

[vinteuil]

We clearly need a HIPP version ... and an audience with (appropriate) Piccadilly weepers.
.

... indeed we do!

Here's a good illustration of your Piccadilly weepers -

https://en.wikipedia.org/wiki/Lord_Dundreary

.

[AuntDaisy]

... indeed we do!

Here's a good illustration of your Piccadilly weepers -

https://en.wikipedia.org/wiki/Lord_Dundreary

... and another, more wistful, image of Sothern.



They also appear at the start of MR James' Tractate Middoth - "Towards the end of an autumn afternoon an elderly man with a thin face and grey Piccadilly weepers pushed open the swing-door leading into the vestibule of a certain famous library..."


Anyway, back to the concert - well worth listening to on Sounds.

[AuntDaisy]

Yesterday, over on Twitter, Ian Skelly added...

Ian Skelly @Ianskellyradio3
Olivier Latry who plays the mighty Saint Saens Organ Symph was delighted to learn this sign is because of his Notre Dame predecessor’s Gauloises habit! Join me tonight 7.30 @BBCRadio3
to hear the story and some great live performances as @philharmonia launches its 80th season.

[Ein Heldenleben]

Boris Giltburg is hitting the piano so hard during the Rach C Sharp Min Prelude that the Society for the Prevention of Cruelty to the Pianoforte needs to intervene.

[edashtav]

Boris Giltburg is hitting the piano so hard during the Rach C Sharp Min Prelude that the Society for the Prevention of Cruelty to the Pianoforte needs to intervene.

You tell, EH! He certainly took notice and as he started the op.23 set if Preludes his playing was pellucid, and gentlemanly. Borisvreturned after the interval to full throttle later .when playing the later op 32 set in the style of a virtuoso expecting to tackle Rach’s massive third piano concerto but finding no company on stage . No matter to Boris as he is used to making Rach’s later Preludes as if they were scored at the very least for four hands.

i enjoyed Giltburg’s interpretations for their structural cogency and lack of slush and sentimentality. He showed that in some of the preludes, Rach ends with a miniature coda which says in a few bars that this piece started ‘here’ but finished ‘there’.

Two encores were a lovely bonus, especially Scriabin’s Etude op 2/1, the first piano work by that composer which I heard live, probably, three score years ago .

[Ein Heldenleben]

You tell, EH! He certainly took notice and as he started the op.23 set if Preludes his playing was pellucid, and gentlemanly. Birus returned after the interval to full throttle later .when playing the later op 32 set in the style of a virtuoso expecting to tackle Rach’s massive third piano concerto but finding no company on stage . No matter to Boris as he is used to making Rach’s later Preludes as if they were scored at the very least for four hands.

i enjoyed Giltburg’s interpretations for their structural cogency and lack of slush and sentimentality. He showed that in some of the preludes, Rach ends with a miniature coda which says in a few bars that this piece started ‘here’ but finished ‘there’.

Two encores were a lovely bonus, especially Scriabin’s Etude op 2/1, the first piano work by that compose which Iheard live, probably, three score years ago .

He has a very habit of snatching at phrases - quickly speeding up and then slowing them which I find very distracting. He massively over pedalled in the very demanding Bflat before the interval and in the Cminor which sounded overly muddied. Conpare Richter or more recently Lugansky in these .
He relaxed a bit into things after the interval where I think he played really well esp the E minor “Exile “ prelude.

[edashtav]

He has a very habit of snatching at phrases - quickly speeding up and then slowing them which I find very distracting. He massively over pedalled in the very demanding Bflat before the interval and in the Cminor which sounded overly muddied. Conpare Richter or more recently Lugansky in these .
He relaxed a bit into things after the interval where I think he played really well esp the E minor “Exile “ prelude.

Granted, he is Richter, and , I can’t argue a comparison with Lugansky as I have not heard him. My experience, ‘satisfaction’ is based on Yevgeny Sudbin and i grew Up with Emil Gilels. Both YS and EG are preferable in different ways to BG.