David Ayers

As foisted on me by S.P.E.C.T.R.E., the Illuminati, the EU, and other sinister elites, who want to create an industrial slave army by depriving me of tunes. And guess what? It's working.

I can smell the shellac just looking at it...

If anyone is interested in what actually goes on in UK concert life, try these links: https://issuu.com/bbcsso/docs/bbcsso_glasgow_201617_final_brochur https://issuu.com/southbank_centre/docs/classical_guide_1617 http://www.barbican.org.uk/classical1617/media/season-brochure.pdf I put Glasgow first so that people can judge for themselves what orchestras outside London actually do. The Glasgow orchestra is one of three doing the Korngold Symphony this year in the UK. Plus Arnold, Finzi, a Tippett cycle... Even two pieces by Anthony Braxton.

Muddle instead of music.

I basically think that a lot of composers get or had their chance, a lot of stuff comes and goes, and the stuff that really stays is pretty darn good, if not sublime. Those Welsh concerts are pretty extreme! I know that people wish their local orchestras would do this or that, but they do what they can, and if people want more diversity - or just the best - they will have to travel. The point is well taken that the US does not have the radio orchestras which the UK and other countries have, which can do the repertoire exploration. That said, as I hesitate and more than hesitate over booking for ARTHUR BLISS's BEATITUDES next season, I ask myself and am reminded to ask all you, what do we really want? Which is why I mentioned Terfel and Pappano's Boris Godunov. Wish for that - you won't be sorry.

Maybe this http://www.bbc.co.uk/events/r5rbj5/by/decade/2010?lang=en I am looking at the 2016-17 season of the BBC National Orchestra of Wales, which is a 'regional' radio orchestra. The orchestra does its most public-subsidy driven work at Hoddinott Hall in Cardiff and the link was supposed to be to that series, which includes concerts of lesser-known Welsh and British music. I'm making the point that all sorts of music is out there. On the other hand, I also have a problem with taking for granted so many great works as 'warhorses' just because we are fortunate to be able to hear so many of them so frequently.

Nothing but warhorses in Wales next season. http://www.bbc.co.uk/events/r5rbj5/series/rgp5d4 Wake up and smell the coffee. Even the Korngold symphony is in there. Why not investigate what is on offer and take advantage of it? Instead of just complaining? AND WHO EVEN KNEW THAT HINDEMITH WROTE A CLARINET CONCERTO? LET ALONE GOT CHANCE TO HEAR IT? And tickets cost £12 - about $15.

Well, Bryn Terfel in Boris Godunov for me tonight. If I get the chance I'll ask Pappano why he doesn't do more Piston instead of old warhorses like Mussorgsky.

It is certainly interesting that someone has decided to bring forward Piston and Schuman. That said, the article makes a skewed case by only reporting on the absence of performances of certain composers. It seems to me that there are many American composers who receive important premieres and repeat performances. Last year the LAPO under Dudamel performed Williams, Norman and Copland in London. Next year the NYPO under Gilbert brings John Adams. Adams and Glass are frequently performed in London and I feel pretty sure that is the case in the US. Glass is 80 next year and has a big retrospective in London - I feel sure he will have even more in the USA. John Adams will also be conducting two of his operas with BBCSO and LSO. I could go on, but my sense is that this is not a question about the conservatism of orchestras, exactly, but about a certain element of the repertoire. So there is much more focus on recent greats such as the 'minimalists' I have mentioned, and there also seems to me to be a reasonable amount of space given to contemporary composers such as Andrew Norman, Jennifer Higdon, Augusta Read Thomas, etc. Also, and to run in the opposite direction for a moment, it does seem to me that there is excessive performance of early 20th century British composers in the UK. It seems likely that this has become a condition attached to public arts subsidy. These works are fine, but rarely the best, and I may not be the only concert goer who can't get all that excited about some of those works anymore. I think that if people in the United States given Piston instead of Prokofiev too often they may begin to tire of it. MTT is one conductor who keeps at it. Check out his American Mavericks concert next June - Ives, Harrison, Antheil...

Hopefully that means ECM will be issuing some slightly more cheerful music then - ?

Ah! Got it.

Ok so South of the Border is relevant here only in relation to the Made in Mexico element. And the references to Strings were to the earlier release in another thread. Bit slow there. Caught up now.

Help me. I thought we were talking about the strings album. What is this release?

As you will by now have learnt, Naxos have unfortunately had to take the decision to move many of their titles away from the budget price point they have long been famous for. Most new releases from now on, plus around 2000 back catalogue titles, will be priced at £8.50, although we have been able to reduce July’s new releases very slightly for a limited period Recent note from uk cd supplier. Hard to make comparisons when the UKP is in freefall, but just curious.

Street # ?

Zip

So good he bought it twice....

Strange thing about Odyssey - I bought it on release and never 'liked' it, compared to the previous albums which I knew well. But the music has stayed in my mind and I can't help thinking that the 45 would maybe settle the problem I have with the sound being so gated. That said, the absence of bass leaves a hole for me, which is not offset by the tuned-down sixth string on some numbers (I remember re-checking the liner notes for the name of a bassist when I first played the LP and I heard the odd note below E...). Bit more clout in the drums and bite in the string instruments would be very welcome.

I mean your red light phrase appears nowhere on google. I am from Yorkshire so I know the dialect...

According to you maybe. But not according to google.

Weirdly,classical music seems to have gone the opposite way. The old emphasis was on catalog and classic recordings, and sales were 80:20, old to new. I read that this basically reversed although I can't remember what to and don't have a link. Those megaboxes of back catalog from the majors are evidently the answer to that and will no doubt have changed the economics again.

Re. the OP OP, remember that there was a euromosaic (identical except for Warner serial number on spine) which means there are more of these around and maybe cheaper. Maybe.

This once busy thread is now a lonely place.

Sign of age that what seem to me like "new" sets are expiring right left and center...