On Monday, November 27, 2023 at 11:49:11 AM UTC-8, Marc S wrote:
>
> Also... Herman has numerous times stated that he has a GF
> who plays harpsichord and piano... note that it's Herman's
> underlying intention to make us all jealous of him... it's so
> cringey... we are all jealous of you Herman,

Why would anyone be jealous of a harpsichordist GF ?!?
Let alone one so confused she cannot pick the right
instrument ?!?

Real musicians have sopranos as GFs.

Cheers,

another late Fauré chamber work

https://www.youtube.com/watch?v=FS3oDLxslZA

On Wednesday, November 29, 2023 at 5:01:14 PM UTC-8, Herman wrote:
> another late Fauré chamber work
>
> https://www.youtube.com/watch?v=FS3oDLxslZA

This is much better:

https://youtu.be/pYWvSCUjR0M

Cheers!

On Thursday, November 30, 2023 at 2:21:17 AM UTC+1, Dan Koren wrote:
> On Wednesday, November 29, 2023 at 5:01:14 PM UTC-8, Herman wrote:
> > another late Fauré chamber work
> >
> > https://www.youtube.com/watch?v=FS3oDLxslZA
> This is much better:

You're severely deluded. It's raping the music. Turning the trio op 120 into a set of jolly tunes for around the camp fire.
Fauré did not write any such work for clarinet, and the mood is totally different. But how would you know?
The musicianship is not top notch, but it does of course meet your ethnic standards.

On Wednesday, November 29, 2023 at 6:11:51 PM UTC-8, Herman wrote:
> On Thursday, November 30, 2023 at 2:21:17 AM UTC+1, Dan Koren wrote:
> > On Wednesday, November 29, 2023 at 5:01:14 PM UTC-8, Herman wrote:
> > > another late Fauré chamber work
> > >
> > > https://www.youtube.com/watch?v=FS3oDLxslZA
> >
> > This is much better:
>
> You're severely deluded.

It takes one to know one -- right?

> It's raping the music.

Then take it to the court and present the evidence.

> Turning the trio op 120 into a set of jolly tunes for
> around the camp fire.

More interesting than performing it like a dirge.

> Fauré did not write any such work for clarinet,

Neither did Brahms, right? Opp. 120 must always
be transcribed for clarinet. It's the law! ;-)

> and the mood is totally different.

That is indeed the point. Any clarinet
sounds better than any fiddle.

> But how would you know?

My tastelessness does not mean your
taste is better -- let alone good.

> The musicianship is not top notch, but it
> does of course meet your ethnic standards.

Where did you get such an idea? From your
friends in the Hamas String Quartet?

Cheers

On Thursday, November 30, 2023 at 5:38:18 AM UTC+1, Dan Koren wrote:
> On Wednesday, November 29, 2023 at 6:11:51 PM UTC-8, Herman wrote:
> > On Thursday, November 30, 2023 at 2:21:17 AM UTC+1, Dan Koren wrote:
> > >
> > Turning the trio op 120 into a set of jolly tunes for
> > around the camp fire.
> More interesting than performing it like a dirge.

If Fauré wrote a valedictory piece of music, then play it that way.
If you don't like that kind of music then don't pretend it's more 'interesting' to play it without any understanding.
On the contrary it's the way to make the music meaningless - which is how you like it. 'Music is like chocolate.'

, > > Fauré did not write any such work for clarinet,
> Neither did Brahms, right? Opp. 120 must always
> be transcribed for clarinet. It's the law! ;-)

You know very little about music. The Brahms op. 120 consists of two clarinet sonatas dedicated to the clarinettist Richard Mühlfeld, whom Brahms personally admired. At the request of the publisher the composer also made a viola version. So the latter could be called the transcription. Not the other way around.
Fauré did not make a 'transcription' of the piano trio for clarinet; there is no indication in his entire oeuvre that he had a special feeling for the clarinet.
>

On Thursday, November 30, 2023 at 6:59:43 AM UTC+1, Herman wrote:
> On Thursday, November 30, 2023 at 5:38:18 AM UTC+1, Dan Koren wrote:
> > On Wednesday, November 29, 2023 at 6:11:51 PM UTC-8, Herman wrote:
> > > On Thursday, November 30, 2023 at 2:21:17 AM UTC+1, Dan Koren wrote:
> > > >
> > > Turning the trio op 120 into a set of jolly tunes for
> > > around the camp fire.
> > More interesting than performing it like a dirge.
> If Fauré wrote a valedictory piece of music, then play it that way.
> If you don't like that kind of music then don't pretend it's more 'interesting' to play it without any understanding.
> On the contrary it's the way to make the music meaningless - which is how you like it. 'Music is like chocolate.'
>
The thing with these late works of Fauré's is they are very hard to perform, because of the way everything is spare and exposed. It's like some of Mozart's later works, think of the solo opening of the middle mvt of the 488 concerto. Fauré employs an almost identical range in these works. The highest note in the 115 slow movement, as I recall, is a B, i.e. you could play the entire movement in first position, like violinists used to do in 1775.
(By the time Fauré was composing these pieces, violinists had gone way up the fingerboard for more control of vibrato etc, but on the page it's the same: there are no stratospheric soprano notes.)
The other problem is, of course, how did the composer picture these pieces, that go from very simple (in terms of notes) to really hard (the vivace in 115). That is why I posted a performance of the 120 piano trio, where these problems are even more acute, due to even more exposure.

I'm cutting through all the spam posts to post the last Fauré masterwork, the op 121, by its current best exponents, the Quatuor Ebéne, with, indeed, the same alto player as in the festival Piano Quintet. This Ebene performance is better than the recording they made for Virgin ten years before.

One pictures Fauré as a sovereign master of the French tradition and yet the reason why he waited till the end of his life to write a string quartet was, as he told his wife, it was impossible in his mind to top Beethoven in this genre. By the time he started on op 121 Fauré was quite deaf; chances were this was going to be his last musical statement, and his wife kissed the blanc paper before he began.

It's all a matter of what one expects but what I'm hearing is one of the most perfect works of string quartet writing. There is no weak spot. The chanting unisonos of the Quintet and the Piano Trio are absent, though obviously some of the accompanying syncopation in de middle movement is unisono, too. The first movement of the quartet has two development sections, the first starting in a quasi fugue at 1:52 in this video, and the second one, with major work for the viola, starting at 5:00, until a brief coda at 5:44.

https://www.youtube.com/watch?v=VfOZ8hu4aJw&t=1010s

In article <730049d8-cfb9-4eb0-810a-c84ff91a0ea6n@googlegroups.com>,
Herman <herstx@yahoo.com> wrote:
>I'm cutting through all the spam posts to post the last Fauré
>masterwork, the op 121, by its current best exponents, the Quatuor
>Ebéne, with, indeed, the same alto player as in the festival Piano
>Quintet. This Ebene performance is better than the recording they made
>for Virgin ten years before.

I didn't check the Youtube, but I went & found the release on 2008
Erato elsewhere, if that's what it was.... (Or is that the same as
Virgin? I've forgotten the various takeovers.)

Anyway, thanks for the suggestion. I am enjoying this interpretation
too.

On Sunday, November 26, 2023 at 11:30:31 AM, herman wrote:
>
> I could post this in WAYTL, but I’ll make a new topic for this 2021 live performance of Fauré’s C minor Piano Quintet,
> the second-but-last chamber work he composed. Only the Piano Trio and the valedictory String Quartet came after.
> By the time Fauré wrote these three pieces he was absolutely deaf. And yet the Quintet has, in my mind, a distinct
> devout sensuality. The coda of the slow movement (25:05) in this video is out of this world.

herman, thank you for creating this thread. I have listened to a few versions of this work as a result with newly-tuned ears. I must say, the Domus w/ Anthony Marwood from 1995 is a stunner.

On Thursday, December 7, 2023 at 6:38:45 AM UTC+1, Oscar wrote:
>
>
> herman, thank you for creating this thread. I have listened to a few versions of this work as a result with newly-tuned ears. I must say, the Domus w/ Anthony Marwood from 1995 is a stunner.

Why, thank you for responding enthusiastically.
The Hyperion Domus recording is one of the top recordings, for sure. I like the live performance linked in the OP slightly better, because it brings out the agitation critical to late Fauré. However one does note that the live performance is a little messy in the first movement. From the scherzo onwards (technically the toughest mat) every thing is perfect in the live performance.The Domus is (to my mind) a little too serene in the 1st mvt development section.
The alpha recording with Eric Le Sage and the Quatuor Ebene is pretty good, too, but virtually inobtainable. Also, inevitably, the piano is a little forward in the Le Sage recording.

On 2023-12-06 10:38 p.m., Oscar wrote:
> On Sunday, November 26, 2023 at 11:30:31 AM, herman wrote:
>>
>> I could post this in WAYTL, but I’ll make a new topic for this 2021 live performance of Fauré’s C minor Piano Quintet,
>> the second-but-last chamber work he composed. Only the Piano Trio and the valedictory String Quartet came after.
>> By the time Fauré wrote these three pieces he was absolutely deaf. And yet the Quintet has, in my mind, a distinct
>> devout sensuality. The coda of the slow movement (25:05) in this video is out of this world.
>
> herman, thank you for creating this thread. I have listened to a few versions of this work as a result with newly-tuned ears. I must say, the Domus w/ Anthony Marwood from 1995 is a stunner.

I listened to the Domus version of Dvorak piano quartets.
Superb performances and the recording is perfect. The piano
doesn't dominate as it does in so many "mixed ensemble"
recordings.

a bunch of connaisseurs here I see...

In article <6a3aa57b-fee6-4965-9736-d4d0f50b8c17n@googlegroups.com>,
Herman <herstx@yahoo.com> wrote:
>The alpha recording with Eric Le Sage and the Quatuor Ebene is
>pretty good, too, but virtually inobtainable.

It's streaming on Qobuz....

Thanks to herman I did check the Fauré section at the local shop a few days ago and was pleased to find Domus in the Piano Quartets Nos.1 & 2 on Hyperion CDA 66166 ℗ © 1986. This is a very early Hyperion disc Manufactured In Japan with dot-matrix inner ring. Booklet note by the estimable Stephen Johnson, who is still a contributor to BBC Music Magazine. Recorded on February 25 & 26, 1985. Recording producer: Anthony Howell. Recording engineer: Andrew Keener. Executive producer: Edward Perry.

Susan Tomes (pf)
Krysia Osostowicz (vln)
Robin Ireland (vla)
Timothy Hugh (vlc)

Nice try, but all you are doing is making a fool out of yourself Oscar. Keep on kissing the buttcheeks of antisemites ;)

What I do notice though is that you may don't use capitalizatin when writing herman. I remember also asking myself last time if this was some sort of needle?

The thing Oscar is this... especially in the wake of things that happened.... you should really reconsider your behaviour to these kinds of people... you certainly lack princriples and instead act opportunistically, because you benefit from the exchange in some way (even though it is not in a good way), and because over the years you have in some ways grown close to the antisemites in this group - kind of sad to witness tbh. You show little respect for yourself.

And like Oscar... you don't want this here to end, you rather want peace and just talk about music - like in the "good old times" so to speak - I totally get that... well... if you want to look past everything and be nice to antisemites and people who hate on old people and discriminate against them (as in they should not perform on stage above a certain age etc), it speaks for itself... just like Merkel was nice and looked passed everything ;) No balls.