Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

Record label: Deutsche Grammophon

On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).

Glad to read that you also share my enthusiasm for these exceptional interpretations.

On Thursday, August 31, 2023 at 11:12:31 AM UTC-7, Jonathan Ben Schragadove wrote:
> On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> > Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.
> Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).

So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?

On Friday, September 1, 2023 at 4:00:39 AM UTC-7, A.L. wrote:
> Glad to read that you also share my enthusiasm for these exceptional interpretations.
> On Thursday, August 31, 2023 at 11:12:31 AM UTC-7, Jonathan Ben Schragadove wrote:
> > On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> > > Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.
> > Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).

On 9/4/23 5:33 AM, A.L. wrote:
> So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
>

I'm very far from being a piano expert, but since you asked:

- Beautiful tone
- Plenty of personality
- But some articulation not ideally clear (for example from 30 seconds
to one minute of Sonata 2)
- Nocturne was impressive
- Barcarolle greatly expressive, but missing the even flow of the waves.

Was wondering if you could be more specific about its other superlative
qualities - it's more than likely I might have just overlooked them!

I agree that it would be interesting to get opinions from other folks here..

You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?

On Monday, September 4, 2023 at 6:34:03 AM UTC-7, Notsure01 wrote:
> On 9/4/23 5:33 AM, A.L. wrote:
> > So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
> >
> I'm very far from being a piano expert, but since you asked:
>
> - Beautiful tone
> - Plenty of personality
> - But some articulation not ideally clear (for example from 30 seconds
> to one minute of Sonata 2)
> - Nocturne was impressive
> - Barcarolle greatly expressive, but missing the even flow of the waves.
>
> Was wondering if you could be more specific about its other superlative
> qualities - it's more than likely I might have just overlooked them!
>
> I agree that it would be interesting to get opinions from other folks here..

Correction. I had written: "I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata?"
But the long pauses are here:
Sonata #2, between movements III (Marche funèbre) and IV (Finale)
Sonata #3, between movements II (Scherzo) and III (Largo)

On Monday, September 4, 2023 at 11:45:54 AM UTC-7, A.L. wrote:
> You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?
> On Monday, September 4, 2023 at 6:34:03 AM UTC-7, Notsure01 wrote:
> > On 9/4/23 5:33 AM, A.L. wrote:
> > > So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
> > >
> > I'm very far from being a piano expert, but since you asked:
> >
> > - Beautiful tone
> > - Plenty of personality
> > - But some articulation not ideally clear (for example from 30 seconds
> > to one minute of Sonata 2)
> > - Nocturne was impressive
> > - Barcarolle greatly expressive, but missing the even flow of the waves..
> >
> > Was wondering if you could be more specific about its other superlative
> > qualities - it's more than likely I might have just overlooked them!
> >
> > I agree that it would be interesting to get opinions from other folks here..

On Monday, September 4, 2023 at 10:12:05 PM UTC-4, A.L. wrote:
> Correction. I had written: "I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata?"
> But the long pauses are here:
> Sonata #2, between movements III (Marche funèbre) and IV (Finale)
> Sonata #3, between movements II (Scherzo) and III (Largo)
> On Monday, September 4, 2023 at 11:45:54 AM UTC-7, A.L. wrote:
> > You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?
> > On Monday, September 4, 2023 at 6:34:03 AM UTC-7, Notsure01 wrote:
> > > On 9/4/23 5:33 AM, A.L. wrote:
> > > > So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
> > > >
> > > I'm very far from being a piano expert, but since you asked:
> > >
> > > - Beautiful tone
> > > - Plenty of personality
> > > - But some articulation not ideally clear (for example from 30 seconds
> > > to one minute of Sonata 2)
> > > - Nocturne was impressive
> > > - Barcarolle greatly expressive, but missing the even flow of the waves.
> > >
> > > Was wondering if you could be more specific about its other superlative
> > > qualities - it's more than likely I might have just overlooked them!
> > >
> > > I agree that it would be interesting to get opinions from other folks here..

Regarding the Sonata in B Minor, I agree completely regarding movements 1 and 2. Truly superlative playing, with fine details of voicing and transparency - masterful use of pedal. I began to be disappointed with movements 3 and 4 where his expressive devices, eg. Slowing down at the top of runs were done too much and too predictably and so they became mannerisms.

This in general is what has marred his playing for me in the past. But this is only my taste. There’s a lot to admire in his playing.

A.L. schrieb am Montag, 4. September 2023 um 20:45:54 UTC+2:
> You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?
> On Monday, September 4, 2023 at 6:34:03 AM UTC-7, Notsure01 wrote:
> > On 9/4/23 5:33 AM, A.L. wrote:
> > > So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
> > >
> > I'm very far from being a piano expert, but since you asked:
> >
> > - Beautiful tone
> > - Plenty of personality
> > - But some articulation not ideally clear (for example from 30 seconds
> > to one minute of Sonata 2)
> > - Nocturne was impressive
> > - Barcarolle greatly expressive, but missing the even flow of the waves..
> >
> > Was wondering if you could be more specific about its other superlative
> > qualities - it's more than likely I might have just overlooked them!
> >
> > I agree that it would be interesting to get opinions from other folks here..

I may need to relisten more attentively, but based on one listening, I join John Gavin in finding the first two movements of the 3rd Sonata to be the most successful parts of the disc, and I too was a little annoyed by those mannerisms particularly in the finale. The 2nd Sonata failed to engage me - I just found it at least the first and fourth movements too cautious and tame compared to what I consider the best versions. The Nocturne is indeed very well played, and I don't find the Barcarolle too bad, either.

Could you elaborate further why you enjoy these interpretations so much, also by comparison to other versions on disc?

M.A.

I don't know what else to add but that I found them satisfactory beyond measure. And yes, I also detected the somewhat "mannered" final movement of the 3rd sonata (in addition to the lengthy pauses between movements that I wrote about). But the convergence of ravishing sound, filigree, soulfulness and full-bodied delivery captured my senses and attention. That's what a great recording ought to do. Otherwise why bother?

On Wednesday, September 6, 2023 at 9:31:10 AM UTC-7, M. A. wrote:
> A.L. schrieb am Montag, 4. September 2023 um 20:45:54 UTC+2:
> > You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?
> > On Monday, September 4, 2023 at 6:34:03 AM UTC-7, Notsure01 wrote:
> > > On 9/4/23 5:33 AM, A.L. wrote:
> > > > So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
> > > >
> > > I'm very far from being a piano expert, but since you asked:
> > >
> > > - Beautiful tone
> > > - Plenty of personality
> > > - But some articulation not ideally clear (for example from 30 seconds
> > > to one minute of Sonata 2)
> > > - Nocturne was impressive
> > > - Barcarolle greatly expressive, but missing the even flow of the waves.
> > >
> > > Was wondering if you could be more specific about its other superlative
> > > qualities - it's more than likely I might have just overlooked them!
> > >
> > > I agree that it would be interesting to get opinions from other folks here..
> I may need to relisten more attentively, but based on one listening, I join John Gavin in finding the first two movements of the 3rd Sonata to be the most successful parts of the disc, and I too was a little annoyed by those mannerisms particularly in the finale. The 2nd Sonata failed to engage me - I just found it at least the first and fourth movements too cautious and tame compared to what I consider the best versions. The Nocturne is indeed very well played, and I don't find the Barcarolle too bad, either.
>
> Could you elaborate further why you enjoy these interpretations so much, also by comparison to other versions on disc?
>
> M.A.

Record label: Deutsche Grammophon

On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.
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On Tuesday, September 12, 2023 at 9:01:03 PM UTC+10, Kerrison wrote:
> > > OKLAHOMA!
> > >
> > > This is a recording of a new edition of the original full score with Robert
> > > Rodney Bennet's orchestration carefully restored.
> > >
> > > <https://www.chandos.net/products/catalogue/ABRD%205322 >
> > >
> > > It will be released of September 15th.
> > >
> > > Andrew Clarke
> > > Canberra
> > You can hear some of it on Spotify already:
> >
> > https://open.spotify.com/album/6omn3hSAOWsKxSSLPYzbqE?si=0yHkS0wsS9ep5QK4InPnPQ
> > https://open.spotify.com/album/0zqUXU5wFen6o5EihuxmPe?si=CVjG1_hxRpCc293NheowaA
> > https://open.spotify.com/album/3lVoXPFGmQT4b3pgLwOtQX?si=vczfeImzSpmiZcqAya1evA
> > https://open.spotify.com/album/2X7uIhFgY6GDYppOOIQKoG?si=D4dZmHmzSIit5VOcRkwB6Q
> >
> > -Owen
> YouTube is awash with clips of John Wilson at the BBC Proms over the years. Here is one well worth viewing, in which he takes Franz Waxman's "Ride of the Cossacks" at a hell of a lick. Look out for the trio of Wagner Tubas as well as the two timpanists going bananas on their kettle-drums and the two lady piccolo players having their work cut out! ...
>
> https://www.youtube.com/watch?v=asoLIJpvb_w

Are those Wagner tubas in the brass section, or some kind of Czech tenor tuba? I'm not sure that the former would have been politically appropriate for a film about Cossacks ...

I wonder if the John Wilson Orchestra and the Sinfonia of London are the same players?

Andrew Clarke
Canberra
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On 9/23/2023 12:05 PM, Herman wrote:
> On Saturday, September 23, 2023 at 3:53:56 PM UTC+2, mINE109 wrote:
>>
>
>>>
>>> Interesting, I'd never heard of this Kalliwoda guy and I think you
>>> raise a good point more broadly also.
>> Looks like a Hurwitz find based on Christoph Spering-led symphony
>> recordings.
>>
> Really?
> Anyone who plays the violin has had some Kalliwoda pieces on his or her stand early on.
> And I wouldn't be surprised if it's the same for some other instruments. Like flute or recorder.
> Music exists outside 'recordings'.

Did you consider that "Hurwitz find" did mean that Killiwoda was discovered by Hurwitz? That it referred to recordings?
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WRT Cosi: I think I'll need Krips (even though I hate Waechter) and Jochum... certainly not Suitner... should maybe relisten to Haitink...
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Subject: Re: WAYLTL - November 2023
From: Marc S <marcs12212@gmail.com>
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On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).
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Date: Thu, 14 Sep 2023 18:03:13 -0700 (PDT)
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Subject: Re: Just for fun: your favorite recording of anything (ex aequo or not)
From: "raymond....@gmail.com" <raymond.hallbear1@gmail.com>
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On Thursday, 14 September 2023 at 19:59:20 UTC+10, Roland van Gaalen wrote:
> Mine is this one (I already posted the link here half a year ago):
>
> Johann Sebastian Bach in optima forma et summa gravitate:
>
> Jean-Sébastien Bach par Pierre Cochereau à Notre-Dame en 1959 !!!
>
> https://youtu.be/UScb-eaHsCE?si=ft_g9_QwDCkmOUu_
> --
> Roland van Gaalen
> Amsterdam

I cannot really think of a best work, as it could vary, but am presently going through Malcolm Arnold's nine symphonies as recorded on Naxos conducted by Andrew Penny (on 5 individual discs). Arnold's orchestration, for what he wanted to portray, is ideal (no orchestral excess), and there is terror mixed with blinding flashes of drop-dead gorgeous tunes. There are hints of Mahler, Sibelius, and Walton, and these are works that are simply far too good to not know. Vernon Handley also recorded a set of these works, as did Richard Hickox.

Ray Hall, Taree
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On 9/24/2023 12:11 PM, Herman wrote:
> On Sunday, September 24, 2023 at 4:55:49 PM UTC+2, Frank Berger wrote:
>> On 9/23/2023 12:05 PM, Herman wrote:
>>
>> Did you consider that "Hurwitz find" did mean that Killiwoda was discovered by Hurwitz? That it referred to recordings?
>
> It's Kalliwoda, with an A.

Did you consider that "Hurwitz find" did not mean that Kalliwoda was discovered by Hurwitz? That it referred to recordings?
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From: mINE109 <pianoforte109@yahoo.com>
Newsgroups: rec.music.classical.recordings
Subject: Re: Byrd anniversary....
Date: Wed, 18 Oct 2023 11:09:03 -0500
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On 10/17/23 9:38 PM, Mandryka wrote:

> One Byrd organ CD I like is by Marianne Lévy - Noisette’s CD. Part of it is organological - the instrument she uses is special.

Thanks for this! "Hugh Ashton's Ground" is as I always pictured it on
organ. "The Barkley-Break" [sic?] is a rousing opener.

OTOH, the tuning for "My Lady Nevell's Ground" is especially striking
for those not accustomed. Meantone?
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Subject: Re: Flemish sounds easier on the ears than Welsh! ;-)
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Justme schrieb am Sonntag, 5. November 2023 um 02:03:11 UTC+1:
> On Saturday, 4 November 2023 at 21:33:00 UTC+11, Andy Evans wrote:
> > On Saturday, 4 November 2023 at 04:40:59 UTC, Dan Koren wrote:
> > > Enjoy!
> >
> > Myfanwy sung in Welsh, one of the world's most beautiful languages.
> >
> > If this doesn't move you you're not human.
> >
> > https://www.youtube.com/watch?v=tj3D1wQb0cA
> Welsh and Russian choral is akin, but similarities end with the emotional language used, Russian being melancholic whereas Welsh is more enigmatic to these ears. Russian also more modal and strong in the lower registers, whereas Welsh stronger in the alto register. Both capable of strong emotional feeling.
>
> ps: reCAPTCHA is being used to block posters to this newsgroup, and people should be aware of this. It will not succeed.

Glad to read that you also share my enthusiasm for these exceptional interpretations.

On Thursday, August 31, 2023 at 11:12:31 AM UTC-7, Jonathan Ben Schragadove wrote:
> On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:
> > Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.
> Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).
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Subject: Re: A "revelatory" performance of the last mvmt of Bruckner's 7th?
From: "steve...@gmail.com" <stevec32000@gmail.com>
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On Friday, September 15, 2023 at 5:21:06 PM UTC-7, mswd...@gmail.com wrote:
> On Thursday, September 14, 2023 at 12:35:55 AM UTC-5, steve...@gmail.com wrote:
> > I have several recordings of the Bruckner 7th including Karajan, Wand, Giulini, and various Celibidaches. Listening to the 1st and 2nd movements is a joy of course, but the last movement always eludes me. Its themes are clearly based off of the opening melody of the first movement, but emotionally the music as a whole never seems to grab me. Does anyone have a recommendation for a recording that includes a "revelatory" reading of this elusive movement in particular, one that brings out what is ostensibly great in it?
> I think maybe you are asking for the wrong thing. This is a movement that moves away from grandiosity and instead sounds more like Dvorak or Schubert, despite some very Brucknerian figurations within the movement. You've named at least three conductors whose manners here are a bad match for the music. Karajan and Celibidache are both generally looking for something epic and powerful- Karajan through extreme dynamics and drama, Celi through breadth. Both tendencies are counterproductive here. Giulini also tends to be broad, and his italiante phrasing is not helpful in this symphony- I say that considering I find his 8 and 9 almost peerless.
>
> The "right" fourth movement is perky, fresh, and does not dawdle. For that reason, the ones I would reach for include Blomstedt/Dresden and Haitink/Concertgebouw ('78 on Philips). I also recall liking Wand/NDR from '92 on RCA. Each of these has a fourth movement between 12:08 and 12:26. Perhaps that is the Wand you have, so maybe there's nothing new here.
>
> Jochum/Dresden also gets mentioned as a great Bruckner 7. In sampling it, I find a bit more rhetorical freedom than I like, and the slow down/speed up approach does not win me over, much as I think Jochum is indispensable and always worth a listen.
>
> You've seen multiple recs here for Rosbaud, who lands the last movement in just over 11:30. This is by almost everyone's measure a very special Bruckner 7. His recent SWR box collects some great Bruckner, but the version of this December 1957 recording in the box is in mono. The same performance on VOX is better known and in stereo. Even better than VOX is the release in an oddball collection of Bruckner recordings put out on ZYX. You can get a used copy for under $10. The ZYX team got their hands on a master tape that was even better than what VOX had access to (no idea how, but the sound improvement is easy to spot), so what you have is the best-sounding release of this recording that had yet been offered up to that point- the sound is quite excellent stereo.
> https://www.amazon.com/gp/product/B001E1DHFO/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
>
> I'm listening to the Rosbaud now. He just keeps things moving. A great conductor!

Thank you, yes this is helpful. I hear the finales of his other symphonies (the 4th, 5th, and 8th for example) as doing the epic summing up of the previous movements and I suppose I was wanting to hear something similar in the finale of the 7th. It makes me wonder about the balance of the entire 7th symphony, though, having 2 huge, somewhat slow movements, a scherzo, and then ending with a finale that "doesn't dawdle" (as you know it's marked "Bewegt, doch nicht schnell").
I ought to try the Rosbaud recording and thanks for the Amazon link.
This makes me wonder also about other conductors who take Bruckner in a more Schubertian, fleeting style? I guess Harnoncourt would be one.
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On 9/24/2023 9:26 PM, Herman wrote:
> On Sunday, September 24, 2023 at 9:08:13 PM UTC+2, Frank Berger wrote:
>> On 9/24/2023 12:12 PM, Herman wrote:
>>> On Sunday, September 24, 2023 at 4:57:12 PM UTC+2, Frank Berger wrote:
>>>> On 9/23/2023 8:02 AM, Herman wrote:
>>>>> On Wednesday, September 20, 2023 at 10:24:03 AM UTC+2, Herman wrote:
>>>>> Alternatively we could check the hilarious hypothesis that orchestras are being kept running to provide critics with a living.
>>>> You are the only one here that doesn't know that was said tongue-in-cheek. Oh, tongue-in-cheek is not meant to be literal either.
>>>
>>> Try and look up the word "hilarious".
>> Your use of "hilarious" simply says you think the idea that orchestras are being kept running to provide critics with a living is funny. It doesn't indicate that you knew the comment was not meant literally.
>
> It's an great idea to go and tell people posting here what they are thinking and why. A sort of running commentary (negative, of course) on each and every post would greatly increase traffic and certainly lighten the mood.

Except I didn't say what you were thinking. I said what your choice of language conveyed.
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Subject: Re: WAYLTL - October 2023
From: Dan Koren <dan.koren@gmail.com>
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Xref: rslight rec.music.classical.recordings:58832