INTRO: Cold, clear and quiet, we drift through frozen lakes and glacial terrain on a journey to the heart of winter. It's a sound of tiny movements locked within great static masses, deep drones and crystalline accents, punctuated by the reverberation of great natural events.
JON HOPKINS
Cold Out There < 0:0->3:50>
: OPALESCENT ; Just Music/Absolute Zero TAO 006; 2001
: Info: www.justmusic.co.uk
MICHAEL THOMAS BERKLEY
Frozen Reflection < 03:50->8:04>
Ellesmere Island - Part IV < 08:04->13:25>
: ARCTIC ; Numinous NR90; 2000
: Info: www.numinous-records.com
LIGHTWAVE
Evelyn H. < 13:25->19:38>
: CARYOTYPE ; Signature SIG 11005; 2000
: Info: www.lightwave-musique.com
ERIK WOLLO
Map of the Mind < 19:38->23:07>
: THE POLAR DRONES ; Groove Unlimited GR-085; 2003
: Info: www.groove.nl
BIOSPHERE
Two Ocean Plateau < 23:07->26:13>
Heat Leak < 26:13->29:43>
Gravity Assist < 29:43->36:48>
: SHENZHOU ; Touch TOUCH TO:55; 2002
: Info: www.touchmusic.org.uk
IGNEOUS FLAME
Liminal < 36:48->41:06>
: TOLMON ; Chillfactor10 CF10-02; 2003
: Info: www.luminasounds.com
HIMALAYAN VOICES
Airborn < 41:06->47:45>
: NEW PARADISE ; self-published PHONON-003; 2002
ERIK WOLLO
Polar Drone 2 < 47:45->51:07>
Polar Drone 1 < 51:07->54:22>
: THE POLAR DRONES ; Groove Unlimited GR-085; 2003
: Info: www.groove.nl
ERIK WOLLO
Echo of Night < 54:22->58:59>
: EMOTIONAL LANDSCAPES ; Spotted Peccary SPM-1203; 2003
: Info: www.spottedpeccary.com
What are you listening to?
Moderators: StevieG, dANdeLION, lucimay
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Menolly
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Online stream of Hearts of Space program 684, "GLACIER BAY"...
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Menolly
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The second hour of my public radio station's transmission of Hearts of Space. The first hour was the program I streamed online last week, Absolute Zero, so I won't repeat the program notes here. So here is the program notes for the second hour this week...
INTRO: As the winter chill creeps into our souls, we return to one of the oldest and most rewarding human traditions: the singing of hymns. With timeless melodies cherished over thousands of years, songs of praise, prayer and adoration never lose their appeal — especially during difficult times — and the end of the year holiday season, when (singing together) the human family renews its commitment to generosity, peace and goodwill to all.
On this transmission of Hearts of Space, a seasonal acoustic celebration called WINTER HYMNS.
LOREENA MCKENNITT
In the Bleak Midwinter < 0:0->2:41>
Breton Carol < 02:41->5:35>
The Holly and the Ivy < 05:35->10:25>
: A MIDWINTER NIGHT'S DREAM ; Quinlan Road QRCD112; 2008
: Info: www.quinlanroad.com
SPENCER BREWER
Ode for Patricia < 10:25->14:30>
: CINEMATIC ; Willow Rose WR 621; 2008
: Info: www.spencerbrewer.com
YO-YO MA & FRIENDS
The Wexford Carol < 14:30->18:51>
: SONGS OF JOY AND PEACE ; Sony Classical 88697-24414-2; 2008
: Info: www.sonybmgmasterworks.com
RADHIKA MILLER
Breath of a Dancer < 18:51->22:06>
O, Fragile Beauty < 22:06->25:37>
Nocturne < 25:37->30:25>
: DANCING LIGHT ; Radhika Miller Music RMM1150; 2007
: Info: www.radhikamiller.com
AAGE KVALBEIN & IVER KLEIVE
Velt Alle Dine Veie < 30:25->34:54>
Gjendines Banlat < 34:54->38:04>
Tryggare Kan Ingen Vara < 38:04->40:42>
: TIL TROST ; Kirkelig Kulturverksted FXCD 341; 2008
: Info: www.kkv.no
JAMI SIEBER
Listening < 40:42->44:10>
: UNSPOKEN ; Out Front Music OFM 1012; 2008
: Info: www.jamisieber.com
DAVID DARLING
Irish Miles < 44:10->49:36>
Clear Day < 49:36->55:34>
: OPEN WINDOW (D.Darling) ; The Relaxation Company CD8001; 2003
: Info: www.therelaxationcompany.com
LOREENA MCKENNITT
In the Bleak Midwinter < 55:34->58:59>
: A MIDWINTER NIGHT'S DREAM ; Quinlan Road QRCD112; 2008
: Info: www.quinlanroad.com
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Worm of Despite
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After chewing out Matrix for his contradiction of liking the 4th movement of Beethoven's choral symphony but not classical music with voices, I decided to listen to the 4th movement. Then I decided the 3rd movement was gorgeous; and who can skip the 2nd; and the 1st has so much interesting stuff in it...
So now I'm listening to all of Beethoven's 9th.
So now I'm listening to all of Beethoven's 9th.
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Menolly
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Herbert von Karajan, the Berliner Philharmoniker and Beethoven's 9th
*happy sigh*
~*~edit~*~
...arrrgh...
Nearly an hour into it, and still visions of A Clockwork Orange pop into my head at the appropriate spot...
*happy sigh*
~*~edit~*~
...arrrgh...
Nearly an hour into it, and still visions of A Clockwork Orange pop into my head at the appropriate spot...
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Worm of Despite
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I have the version that was actually used in A Clockwork, which is conducted by Ferenc Fricsay and has more humanity than anything Karajan ever did... There's a reason he's lauded for his conducting of Strauss and other bombastic folk. Mind you, I own some Strauss and Pink Floyd, so I have no problem with bombastic.Menolly wrote:Herbert von Karajan, the Berliner Philharmoniker and Beethoven's 9th
*happy sigh*
~*~edit~*~
...arrrgh...
Nearly an hour into it, and still visions of A Clockwork Orange pop into my head at the appropriate spot...
Funny that you two bring up Beethoven: over the past month I've been listening to various complete recordings of the symphonies. (Specifically, I've been comparing versions by Arturo Toscanini, John Eliot Gardiner, Leonard Bernstein, Sir Colin Davis, and Herbert von Karajan.) I'm still assessing them, but I'll throw out some thoughts now:
LF, I have not heard Ferenc Fricsay's Beethoven, but your comment that it shows more humanity than Karajan's is interesting. Karajan was my introduction to Beethoven's symphonies, so he naturally set the standard for me, and a formidable standard it was. The incredibly polished sound that the Berliners under Karajan achieved was and remains something unique in music that still floors me every time I hear it. Karajan wasn't a conductor, but a sorcerer. But there's the rub, right? Karajan's seamless, perfect sound can end up sounding too seamless, too perfect.
After hearing other Beethoven interpretations over the years, I came to recognize that Karajan's was not the last word in Beethoven. Karajan's recordings of the Symphonies will always command my admiration, but I don't quite love them the way I used to. I've also become a bit annoyed by Karajan's tendency to ignore the repeats in Beethoven's score. (You know, when the orchestra plays the opening theme or musical idea - the exposition - and then immediately plays it again. I realize now that those repeats aren't at all superfluous, but rather, add tremendous breadth and weight to the music.) That said, I would still recommend his Beethoven cycles to anyone. They are just too good to ignore. The First Symphony in Karajan's hands possesses a charm and poise that I still don't hear from other conductors; at the opposite end, Karajan still conveys the majesty of the Ninth Symphony's opening movement better than anyone else, in my opinion.
However, in terms of the most human (or humane?) view of Beethoven, I think I would go with Leonard Bernstein's cycle with the Vienna Philharmonic from the 70's (again, without having heard Fricsay's interpretations). I'm glad I finally got around to hearing this Bernstein-Vienna set: there is a lot of joy in the music-making here, and the recorded sound is fabulous. The only time I really disagree with Bernstein's interpretation is in the Fifth Symphony: the opening movement is just...too...slooow. All drama fizzles out of that great movement when you adopt a slow tempo. I'm sorry, but there's just no excuse for that. Aside from that, I love this Beethoven set. Bernstein's reading of the Eroica is as grand and heroic as any I've heard. I'm ready to say that Bernstein's Seventh is even more thrilling than Carlos Kleiber's highly regarded performance with the same orchestra. And the Ninth here is glorious, better than most I've heard.
As for A Clockwork Orange...I'm just glad I already got to know and love the Ninth long before I watched that film. (Don't get me wrong, I think it's an important movie, but it's just not a movie I can sit and be "comfortable" with, which I know is probably the point of the movie, but that's for another discussion...)
LF, I have not heard Ferenc Fricsay's Beethoven, but your comment that it shows more humanity than Karajan's is interesting. Karajan was my introduction to Beethoven's symphonies, so he naturally set the standard for me, and a formidable standard it was. The incredibly polished sound that the Berliners under Karajan achieved was and remains something unique in music that still floors me every time I hear it. Karajan wasn't a conductor, but a sorcerer. But there's the rub, right? Karajan's seamless, perfect sound can end up sounding too seamless, too perfect.
After hearing other Beethoven interpretations over the years, I came to recognize that Karajan's was not the last word in Beethoven. Karajan's recordings of the Symphonies will always command my admiration, but I don't quite love them the way I used to. I've also become a bit annoyed by Karajan's tendency to ignore the repeats in Beethoven's score. (You know, when the orchestra plays the opening theme or musical idea - the exposition - and then immediately plays it again. I realize now that those repeats aren't at all superfluous, but rather, add tremendous breadth and weight to the music.) That said, I would still recommend his Beethoven cycles to anyone. They are just too good to ignore. The First Symphony in Karajan's hands possesses a charm and poise that I still don't hear from other conductors; at the opposite end, Karajan still conveys the majesty of the Ninth Symphony's opening movement better than anyone else, in my opinion.
However, in terms of the most human (or humane?) view of Beethoven, I think I would go with Leonard Bernstein's cycle with the Vienna Philharmonic from the 70's (again, without having heard Fricsay's interpretations). I'm glad I finally got around to hearing this Bernstein-Vienna set: there is a lot of joy in the music-making here, and the recorded sound is fabulous. The only time I really disagree with Bernstein's interpretation is in the Fifth Symphony: the opening movement is just...too...slooow. All drama fizzles out of that great movement when you adopt a slow tempo. I'm sorry, but there's just no excuse for that. Aside from that, I love this Beethoven set. Bernstein's reading of the Eroica is as grand and heroic as any I've heard. I'm ready to say that Bernstein's Seventh is even more thrilling than Carlos Kleiber's highly regarded performance with the same orchestra. And the Ninth here is glorious, better than most I've heard.
As for A Clockwork Orange...I'm just glad I already got to know and love the Ninth long before I watched that film. (Don't get me wrong, I think it's an important movie, but it's just not a movie I can sit and be "comfortable" with, which I know is probably the point of the movie, but that's for another discussion...)
Me like too! Philip Glass's music is pretty cool, and demonstrates that not all contemporary classical stuff is freaky, atonal, fingernails-on-chalkboard noise.Seareach wrote:Philip Glass. Whoa! Me like!
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Worm of Despite
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Exactly. It's a bit brand name to me, and I think other conductors let the symphonies breathe for themselves, whereas Karajan makes his stuff do goose-step-style marches. Very harsh and oblique to me, but sure, not many folks can do as luscious a string section as he.matrixman wrote:LF, I have not heard Ferenc Fricsay's Beethoven, but your comment that it shows more humanity than Karajan's is interesting. Karajan was my introduction to Beethoven's symphonies, so he naturally set the standard for me, and a formidable standard it was. The incredibly polished sound that the Berliners under Karajan achieved was and remains something unique in music that still floors me every time I hear it. Karajan wasn't a conductor, but a sorcerer. But there's the rub, right? Karajan's seamless, perfect sound can end up sounding too seamless, too perfect.
Many believe he went too far in attaining the perfect sound of the symphony; that acoustics came first and content second. I agree to some extent, and he was a task-master, but that's not to say I'm not wowed by his interpretations when in the mood.
Karajan himself lost a lot of the blood and fervor of his original recordings, as he aged, and his interpretations slowly become more homogeneous and sanitized, focusing almost mechanically on the tonal qualities. To some extent, that has been one of the reasons modern-day symphonies of Beethoven are so clean and sanitized.
There are tons of great cycles out there, but I'm so familiar with the symphonies it'd be a bit redundant to buy a whole box set for just a conductor. That said, I passed my Karajan on to a friend after discovering the Andre Cluytens box set, which was a French fellow who conducted the Berlin Philharmonic before Karajan, and to me it's much clearer than Karajan's but contains an equal amount of force. Still--Karajan's 1963 set is so renowned because it is good and solid from start to finish; Cluytens, while his delivery is superior to me, has a few clunkers in this set (and which is why I own single discs of those he floundered on).
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Menolly
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*nodding*matrixman wrote:Me like too! Philip Glass's music is pretty cool, and demonstrates that not all contemporary classical stuff is freaky, atonal, fingernails-on-chalkboard noise.Seareach wrote:Philip Glass. Whoa! Me like!
Hyperception and I attended a three night performance of the Philip Glass Ensemble playing one score a night while the film was shown above the ensemble on stage from the trilogy cycle of Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi in 2003 here in Gator Town. One of the more expensive concert tickets we ever bought, but the entire cycle was mesmerizing. If they ever come to your area, I highly recommend seeing them.
Koyaanisqatsi, both film and score, remains my favorite of the trilogy still though...
*now I have to search youtube to see if any Philip Glass is uploaded there*
...damn it, another series of mp3s lost in the laptop crash last summer...
~*~edit~*~
woo-hoo!!
youtube has the entire film in one clip uploaded!
(at least, I think it's the entire film, playing it now)
Koyaanisqatsi
Good point about modern-day interpretations being so sanitized. This is, in part, why I'm now such a big fan of period instrument performances of the symphonies. Hearing Beethoven in that way was a revelation for me. For the most part, Beethoven's music seems so much more alive and exhilarating when stripped of the baggage of modern "tradition." But I'm glad you aren't totally blaming Karajan for making Beethoven too sanitized; in all fairness, I thought he made Beethoven exciting more often than not. Some other conductors deserve greater blame for making Beethoven boring.Lord Foul wrote:Karajan himself lost a lot of the blood and fervor of his original recordings, as he aged, and his interpretations slowly become more homogeneous and sanitized, focusing almost mechanically on the tonal qualities. To some extent, that has been one of the reasons modern-day symphonies of Beethoven are so clean and sanitized.
Philip Glass did play here - I forget if it was last year or the year before - but I didn't go. The story goes that Glass was going to be in town the same week as the New Music Festival, so the WSO had hoped to have him as the guest of honour at the festival, but he declined the invitation. Furthermore, Glass apparently forbade the WSO to perform any of his works at the festival, so as not to draw audiences away from his own concert that week. It probably wasn't the best way to endear himself to contemporary music fans here (few that we are), but I guess one of the reasons Glass is a successful "brand name" composer is because he is ruthless about doing business. (shrugs)Menolly wrote: Hyperception and I attended a three night performance of the Philip Glass Ensemble playing one score a night while the film was shown above the ensemble on stage from the trilogy cycle of Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi in 2003 here in Gator Town. One of the more expensive concert tickets we ever bought, but the entire cycle was mesmerizing. If they ever come to your area, I highly recommend seeing them.
Sorry, but the thought of watching a whole movie on youtube repulses me - especially in the case of a movie like Koyaanisqatsi where audio quality is, I assume, of prime importance.youtube has the entire film in one clip uploaded!
(at least, I think it's the entire film, playing it now)
Koyaanisqatsi
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Menolly
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Oh, true enough.matrixman wrote:Sorry, but the thought of watching a whole movie on youtube repulses me - especially in the case of a movie like Koyaanisqatsi where audio quality is, I assume, of prime importance.youtube has the entire film in one clip uploaded!
(at least, I think it's the entire film, playing it now)
Koyaanisqatsi
But, I've seen the film several times in the theater, and the one time in the concert hall with the live ensemble. When I was working, the score was one of the CDs loaded into my personal stereo carousel, as it is a favorite. And...
...I so rarely leave the computer these days, so playing the movie on youtube while I surfed, and hopping back over to it for my favorite scenes when I recognized the spots in the score, was fun.
