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Messages - stanfordian

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1
Individual composers / Re: Sir Charles Villiers Stanford (1852-1924)
« on: November 28, 2023, 04:55:54 pm »
For Mackenzie I need a tenor. Apart from the three Rossetti songs we've already recorded, there's precious little for a female voice (high or low). Maude Valerie White is set down, I don't know how long all the editing will take and and how long it will take from there to issue it. Some lovely stuff. We're thinking of Bantock.

2
Individual composers / Re: Sir Charles Villiers Stanford (1852-1924)
« on: November 28, 2023, 03:28:40 pm »
And, if an Italianate rendition is not an obstacle, there are my two CDs from Da Vinci with the Italian mezzo-soprano Elisabetta Paglia which contain quite a few songs not otherwise available. So, two with Varcoe, the two Somm, the two Da Vinci and, further back, the two Hyperion LPs with James Griffett (good where a light voice is needed) and Clifford Benson. A CD-full of the Griffett were issued by Campion but have disappeared again. Still leaves much unrecorded and there are treasures among those without opus numbers, not just in the major sets and cycles. I'd love to do more but I think I have more or less worked through those for which a mezzo could be suited, Somm's idea of dividing between singers is a good one. Based as I am in Italy, it's not a good place to look for singers who might be interested and who could plausibly do them.
The exact number of songs depends what you include, since the distinction between a solo song and a unison song is not always clear. But getting on for 200. Then, if you include the folk-song arrangements, which should be judged as art-songs with their imaginative accompaniments, that adds another 200-odd. But I hope it will all be done one day.

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Individual composers / Re: Sir Charles Villiers Stanford (1852-1924)
« on: November 27, 2023, 01:17:07 pm »
There's also an excellent performance of Piano Trio no. 3 from a 1974 broadcast by the Tunnell Piano Trio that you can hear on Internet Archive. But be careful, it plays below pitch, so it's worth weeking out only if you're prepared to download it and correct the pitch. As the acoustic is poor anyway, you'd do better to seek out the Naxos though, as a Stanford completist, I'm glad to have an alternative for comparison.

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Individual composers / Re: Sir Charles Villiers Stanford (1852-1924)
« on: November 27, 2023, 07:01:01 am »
Actually, rather than "pretty much all of it", I think all the chamber music is now recorded. Can you think of anything that is still missing? Apart, obviously, from cases where the music itself is missing, such as the two late violin sonatas.
Incidentally, my series of articles "Stanfordian Thoughts" on MusicWeb now extends to 20 and I sent in the 21st yesterday evening

5
Individual composers / Re: Sir Hubert Parry (1848-1918)
« on: September 22, 2023, 10:14:19 am »
Parry Piano Music Volume 1 is out at last. Here is the link to the Da Vinci site, but it can also be purchased and heard in all the usual places

6
General musical discussion / Re: The Cheltenham Music Festival
« on: December 10, 2022, 08:04:43 am »
- if I had the energy I'd write one, but my recent experiences with Wiki (where a robot asks you to cite every word that you post) just lead me to think "bugger off".

I'm sure MusicWeb would always welcome a thoroughly informed and well researched piece, without expecting you to then become a regular contributor if you didn't have the time or inclination.

7
Forum news and announcements / Re: A new start
« on: September 16, 2022, 08:11:42 am »
One's first reaction to seeing something you yourself posted turn up somewhere else is naturally one of anger (especially if you check and find it IS the same, not a different source for the same off-air recording, which can happen). Even more if you post something and two months later it turns up as a historical issue by a company asking people to pay for it (there have been cases of this with SymphonyShare, a group oriented more towards historical performers than rare repertoire, e.g. a previously unpublished Michelangeli recital that was issued "newly restored", but actually sounding exactly the same, by a small company dealing in historical issues). This latter is surely an outrageous rip-off, but where money is not involved, I've come to conclude that, the more these recordings of rare material circulate, the better. At least the recording is preserved, in the sense that copies will circulate even after the poster is no more. Better that than the not uncommon case of people with large and precious collections dying, and the heirs just can't wait to "sling out Dad's old tapes".

8
Forum news and announcements / Re: Music for the Queen
« on: September 11, 2022, 06:45:20 am »
Stanford's big Latin Te Deum op.66, whose virtues Albion has often extolled, was written for Queen Victoria's 60th anniversary and should have been revived for Queen Elizabeth II's 60th. It would still make a fine tribute, so perhaps the forthcoming Partington performance and recording should be brought forward so far as is feasible. At this point, the natural coupling would be Stanford's Carmen Saeculare, written for Queen Victoria's 50th, though the planned Elegiac Ode is a finer piece.

9
Individual composers / Giulio Viozzi (1912-1984)
« on: August 22, 2022, 06:57:43 pm »
Viozzi was the much-appreciated teacher of Luigi Dallapiccola, but he himself adopted a more middle-of-the-road modern idiom. His opera Il Sasso Pagano, which I have just posted in the downloads section, could well appeal if the idea of Britten with an Italian accent attracts you. Opera buffs will note the presence of Giuseppe Taddei in the cast.

10
Individual composers / Mario Peragallo (1910-1996)
« on: August 22, 2022, 06:53:47 pm »
Peragallo is one of those composers whose work falls into drastically different periods. Post-war, he embraced serialism of a not very extreme sort and his works were performed by Michelangeli and Giulini among others. The 1937 opera Ginevra degli Almieri, which I have just posted in the downloads section, is an exercise in post-verism. The recording has a notable performance by Marcella Pobbe. 

11
Individual composers / Alfredo Catalani 1854-1893
« on: August 22, 2022, 06:47:31 pm »
I haven't so far investigated very deeply into Catalani. Presumably La Wally and Loreley are the ones to go for, but his first attempt, La Falce, which I have just posted in the downloads section, has its attractions.

12
Individual composers / Pietro Mascagni 1863-1945
« on: August 22, 2022, 06:43:37 pm »
A recent topic on Casella has blossomed into a discussion of Mascagni and much else. Time then for a topic on Mascagni. I have posted in the downloads section what I consider the best performance (unfortunately not the best recorded performance) of L'Amico Fritz

13
Following the discussion of Mascagni in a topic originally dedicated to Casella, here is the L'Amico Fritz recording I mentioned, with three even rarer Italian operas all conducted by the excellent Ferruccio Scaglia. Enclosed with the files are PDF with information about the composers and operas

14
Individual composers / Re: Alfredo Casella (1883-1947)
« on: August 21, 2022, 07:17:03 pm »
Replying to Patmos's post, I tend to prefer Mascagni to Puccini, at least so far as available performances allow me to make the comparison. I also wouldn't underestimate the old RAI performances of these operas. They were rough and ready and the various pirate issues from off-air sources probably make them sound even worse (sonically) than they need be, but they had their hearts in the right place. I made a number of comparisons with performances of L'Amico Fritz some years ago and concluded that the one conducted by Ferruccio Scaglia was overall the best.  You can find my comments in my article on Scaglia here: http://www.musicweb-international.com/classrev/2017/Mar/Scaglia_forgotten.htm 

15
Individual composers / Re: Alfredo Casella (1883-1947)
« on: August 18, 2022, 05:34:17 pm »
Mascagni was a naive old soul in his later years. He went so far as to conduct wearing a black shirt. Though the idea got around that Nerone was virtually a hymn in praise of Mussolini, most of it was actually reworked from an opera he had begun but abandoned long before Mussolini came along.
Nevertheless, politics was the reason for which Mascagni was made a non-person during the Abbado years at La Scala. After Abbado came Muti who probably didn't have political reasons for excluding Mascagni, but his repertoire proves that he just doesn't like that sort of music. Then came Barenboim, who would probably have been capable of sightreading his way disastrously through rare Mascagni, so it's just as well nobody pushed him to do so. With Chailly, we were promised a rediscovery of verism. I didn't dare to hope for Il Piccolo Marat or Parisina, but I did think that L'Amico Fritz or Iris would not have emptied the theatre, or even pairing Cav with Silvano instead of Pag (as Antonino Votto did in the 1950s). Instead, so far we've had Giordano's La Cena della Beffe (well worth doing and apparently a box office success) and a promised production of Montemezzi's L'amore dei tre Re which was cancelled because of Covid and so far there's been no hint it might go ahead now. 

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