Sunday, October 30, 2016



October 29, 2016
Seattle Opera
Hansel & Gretel - Engelbert Humperdinck - Sebastian Lang-Lessing
McCaw Hall, Seattle

I would object to the distracting production more if I were convinced there was anything in
particular to be distracted from. We could at least have been given Zemlinsky instead of this, eh?


October 24, 2016
Die Kunst der Fuge Contrapunctus II - J. S. Bach - Zoltán Kocsis

In which it can reasonably be pondered just how many keys can be implied simultaneously, and whether the sum of those implied keys establishes a new key, in a new realm, within which lurks a hidden fugue.

Keyboard Sonata in D Major Hob. XIV:33 - Haydn - Christine Schornsheim

Approaches to significant tones, all kinds
(such as)
Approaches, imbedded in sets
Approaches, delightful
(but perhaps not)
Approaches, necessarily to astound

October 25, 2016
Requeim K. 626 - Mozart - Berlin Philharmonic Orchestra, Wiender Singverein, Herbert von Karajan, Wilma Lipp, Hilde Rossl-Majdan, Anton Dermota, Walter Berry, Reinhold Schmid, Wolfgang Meyer

The personal is the cosmic, and this death is personal, as big as cathedral innards. Those soloists are as far from operatic as can be, that is, they are not a personality that speaks, but rather inscriptions burned wholly into the stones of naves, transepts, and choirs.

October 27, 2016
Violin Concerto in D Major, op. 61 - Beethoven - Concertgebouworkest, Amsterdam, Bernard Haitink, Henryk Szeryng

For once he approaches a Schubertian graciousness of expanse: militant unhurry, blaring contrasts, long balance.

In Session at the Tintinabulary

October 24, 2016
Gradus 301 - Neal Kosály-Meyer

Start with a problem to consider: that G-natural in the middle. That's a problem for sure. Gradually it becomes clear not only that the problem is solutionless, but that all the notes are problems.

No comments:

Post a Comment