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Another sign of the (record label) times
03-19-2014, 06:20 PM,
#1
Another sign of the (record label) times
Quote:The Beatles did it when they started Apple. Macklemore did it, and wound up with a fistful of Grammy Awards.

The Seattle Symphony Orchestra is now doing it, too — recording and releasing music on its own label, with the aim of calling the world’s attention to the orchestra’s talent and the distinctive sound characteristic of its home, Benaroya Hall.

For full article see this link:
http://seattletimes.com/html/entertainme...elxml.html

I'm glad the SSO is financially healthy enough to do this, and I hope that it works well for the group. It hasn't been that long ago that many arts organizations (including symphonic orchestras) were dropping like flies. (In fact, about 10 years ago the Seattle SO was on shaky ground.) Therefore, it's good news that some of these organizations have been able to reverse that downward trend and begin to take charge of their recording destinies (and profits, if any).

Symphonic orchestras have a specialized audience -- it's not a small niche, by any means, and from my observations the few times that I've been able to attend concerts, I say that at least half of their audiences could be classified, at the lowest end, as upper middle class. In addition, I'm constantly amazed by the number of smaller orchestras within a 50 mile radius that are maintained/sustained in this area. It's remarkable, really.

All of this, just to say, I wish that Haley could do something like this for herself.
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03-19-2014, 07:10 PM, (This post was last modified: 03-19-2014, 09:56 PM by Tom22.)
#2
RE: Another sign of the (record label) times
(03-19-2014, 06:20 PM)My Alter Ego Wrote:
Quote:The Beatles did it when they started Apple. Macklemore did it, and wound up with a fistful of Grammy Awards.

The Seattle Symphony Orchestra is now doing it, too — recording and releasing music on its own label, with the aim of calling the world’s attention to the orchestra’s talent and the distinctive sound characteristic of its home, Benaroya Hall.

For full article see this link:
http://seattletimes.com/html/entertainme...elxml.html

I'm glad the SSO is financially healthy enough to do this, and I hope that it works well for the group. It hasn't been that long ago that many arts organizations (including symphonic orchestras) were dropping like flies. (In fact, about 10 years ago the Seattle SO was on shaky ground.) Therefore, it's good news that some of these organizations have been able to reverse that downward trend and begin to take charge of their recording destinies (and profits, if any).

Symphonic orchestras have a specialized audience -- it's not a small niche, by any means, and from my observations the few times that I've been able to attend concerts, I say that at least half of their audiences could be classified, at the lowest end, as upper middle class. In addition, I'm constantly amazed by the number of smaller orchestras within a 50 mile radius that are maintained/sustained in this area. It's remarkable, really.

All of this, just to say, I wish that Haley could do something like this for herself.

I'm not sure if the Schuman piece below one was previously blocked in the US or if Google decided I might want to see it now after I've been watching more classical music and was having a hard time finding decent authorized recordings.

For whatever the reason, I was thinking of sharing it with you MAE.. but needed a topic to post it under.. this one hits the spot !

I'm probably only into the white dress but the comment thread is a pretty priceless divide between people who think the dress is unbecoming, and the music only being heard because she exploits the dress, and otehrs who seem to hear more .. who tend to also support the dress.

Well, I do like what the dress wraps....

.. but I was also impressed with the performance for lots of reasons...
.. initially I thought it was a bit mushy... but quickly readjusted..
I'm accustomed to having heard (i'm only recently listening to classical music again) pianist hit the keys with a lot more stridency in Schumann's music.. all keys "hitting bottom" (forget how to put that) even in arpeggios etc.

But, I listened a bit longer, and I started to hear an entirely different sort of grace and interpretation, that was decidedly purposeful to my ear... far from being less adept and unable to keep up. To me, there wasn't any hint at strain to play(although the word virtuoso wouldn't come to mind either..there were a few sections) the notes as composed but a relishing of them with a slightly different feel.. perhaps (sexist I suppose) a feminine feel.

(edit) Tom22 theory ( : ) ) : as concertos very especially frequently trade responses with other soloists, (edit) and instrument sections , her particular grace was echoed by the clarinet and oboe in ways I also found graceful in their flutes and violas own distinct way -- with the the entire piece sounding differently than if they had played their parts in response to the more emphatic male pianists.

Anyway.. so much for my creative writing for the day.

Hope you enjoy

And, as to the title of your post... I do think this Frankfurt radio symphony orchestra "channel" brand or whatever, is similar in concept.





I'll come back to the Seattle symphony in another post... I need to let it percolate a bit but it is a very interesting development MAE

Ok guilty as usual of derailing a post. thought I'd add a recording of the first movement by the great pianists Arthur Rubinstein . I wouldn't argue which is better necessarily or which is "right" or "wrong". I may have just watched one to many Bugs Bunny cartoon with a Rubinstein-type of interpretation in it... sometimes something fresh can give a whole new enjoyment not because it is better.

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03-22-2014, 12:45 PM,
#3
RE: Another sign of the (record label) times
Thanks, Tom. If I've heard this piece before, I'm not aware of it/it didn't make an impression. I wrote a response on Wednesday, but, at some point, "zigged" the mouse when I should have "zagged," lost everything that I'd written, and was too tired to try to reconstruct.

First some random observations of the overall picture: First, what a beautiful concert hall! I'm going to assume that it's been built since WWII, but has the look of centuries past, yet with very good (modern) acoustics. Second, (and I know this is weird) I really appreciate the look of what appears to be wooden music stands, rather than the "standard issue" black metal stands so familiar here in the States. (Beside the lack of visual aesthetics, I've wondered how sound bouncing off of those hideous metal stands doesn't impact the acoustics, thus overall sound of performance.) Third, speaking of "standard issue" (or lack thereof), how about that gold flute, which really stands out? While Rampal was known to never play anything but a gold flute (once he'd acquired his first) in general, they are not common. (I suspect they are quite pricey.)

Fourth, I'm puzzled about the purpose of the clear shells behind the back row woodwinds (see clarinet at 5:27 and clarinet and bassoon at 17:44). I haven't seen something like that before. Do they serve as a shield to buffer the impact of sound from the brasses and percussion behind them? Or does it help them hear themselves better? Or, or, or...inquiring minds want to know.

And finally, kudos to this audience for not even stirring during the break between movements (not a single soul clapped, nor did I hear coughing, throat clearing, etc.). That combined with an appropriate response for a solid, lovely but not astoundingly great performance, speaks volumes about the audience. (When I moved to Seattle, I had hopes to begin seeing signs of a more sophisticated audience [in other words no standing ovation for every single performance], but, alas, twas not to be.) This means, when a performance does receive a(n) SO, it actually has meaning.

OK -- so now on to the soloist... (and you think you can be long winded, Tom?). Here's what has been said about her: "Critics have praised her rich imagination, virtuosity and sensitive and mature playing.[4] In particular, famed pianist Martha Argerich noted that: "Khatia is a young pianist of extraordinary talent. I was impressed by her exceptional pianistic gift, natural musicality, imagination and her brilliant virtuosity. (from Wikipedia)

While I haven't heard of Martha Argerich before, I would agree with her assessment. The aspects of Khatia's playing that captured my attention was her fluidity of motion across the keyboard without a great deal of drama (her "drama" seems to in her "hairography" and I'm not sure whether that's purposeful or a result of how she "digs in" when she playing more forcefully) and how little motion of her fingers can produce sound, when she's playing extremely softly, which suggests to me, a tremendous strength in her fingers. This is demonstrated at certain points in the first movement (sorry, I can't point you to a specific time -- didn't write that down) and in her encore.

In regards to your ideas of how the orchestral sections/soloists seemed to "respond to her interpretations," I'd say maybe. Members of an orchestra respond to their director/conductor. The conductor and soloist need to communicate with each other to be "on the same page" in terms of interpretation. For all we know, this conductor chose Khatia because she could embody "his" interpretation of this piece.

Unlike popular music where it's considered a cool, fun, and, maybe, genius thing to take a familiar tune and place it in a new/different context, for the last 50 years (at the very least) new "interpretations" of classical music usually stem from recently discovered, (previously) unknown research about the composer, about the piece itself, and/or about directions the composer might have been pursuing. In other words (and I'm no Schumann scholar), I could surmise that, perhaps, the conductor/musical director/whoever makes the choices for the program has been delving into Schumann's life, psyche, etc, and, thus came up with a different perspective and found that Khatia's resume worked with what had been decided on for this program.

Thank you for bringing her to my attention, Tom. She's now within my circle of "listen to" folks.

And, finally, if you find other classical pieces you wish to share, the thread to go to is "Fine Music -Orchestra, Big Band, Classical & Such" which can be found under the broader classification of "Other Musical Subjects".

Thanks, again, Tom.
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03-22-2014, 06:59 PM, (This post was last modified: 03-22-2014, 07:01 PM by Babbs234.)
#4
RE: Another sign of the (record label) times
Wow! That was quite a speech Miss MAE.

Mae, you and a few others here on HF are so knowledgeable about music. Smile I wanted to tell you that I enjoy reading what you have to say and appreciate your knowledge and ability to express yourself on all topics in music. I feel like dummy sometimes. Tongue But I am learning, slowly, thru you and others here at HF.com Tongue

Thank you Big Grin
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03-22-2014, 07:28 PM,
#5
RE: Another sign of the (record label) times
(03-22-2014, 06:59 PM)Babbs234 Wrote: Wow! That was quite a speech Miss MAE.

Mae, you and a few others here on HF are so knowledgeable about music. Smile I wanted to tell you that I enjoy reading what you have to say and appreciate your knowledge and ability to express yourself on all topics in music. I feel like dummy sometimes. Tongue But I am learning, slowly, thru you and others here at HF.com Tongue

Thank you Big Grin

I'm sorry about the length and that it came across as a speech. That was definitely not my intent.

But Babbs, thank you and you're welcome. I'm still learning too, because, oddly, there's always new stuff coming out and, actually, there's just so much to know about, it's hard to learn it all. (For example, just in the past couple of weeks, I've learned that Nina Simone wanted to be a classical pianist and that the song Take the A Train came really close to never being heard. Kaypea has probably known both those little tidbits forever, but I just recently came across both because of random reasons.)
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03-22-2014, 08:08 PM, (This post was last modified: 03-22-2014, 08:45 PM by Babbs234.)
#6
RE: Another sign of the (record label) times
I didn't mean to say it came across as a speech. Sorry. Let's just say your observations of Khatia playing were very impressive, and they made me want to listen to the symphony too. Smile

Now, I'll go back where I belong to the Haley sightings thread. Tongue
Reply
03-22-2014, 09:31 PM,
#7
RE: Another sign of the (record label) times
(03-22-2014, 08:08 PM)Babbs234 Wrote: I didn't mean to say it came across as a speech. Sorry. Let's just say your observations of Khatia playing were very impressive, and they made me want to listen to the symphony too. Smile

Now, I'll go back where I belong to the Haley sightings thread. Tongue

Ultimately, when you've practiced something enough, a certain muscle memory kicks in. While there are elements of memorization that are probably standard for everyone, the specifics may vary. While I was in jr. high, I used to be able to visualize memorized music. Perhaps she has a similar ability. According to her biography on her website, she speaks five languages. Shes got an impressive bio. Here's a url for more about her:

http://www.khatiabuniatishvili.com/us/biography

She doesn't seem to specialize in playing Schumann. Liszt and Chopin are, so far, her "go to" works. I find that interesting given that, depending on the source, they were friends, enemies, friendly enemies.... Here's a url for some comics regarding the Liszt/Chopin relationship (one of them even mentions Schumann).

http://www.harkavagrant.com/index.php?id=302
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03-22-2014, 11:38 PM,
#8
RE: Another sign of the (record label) times
Thanks MAE, I checked out the links you posted. Khatia is OMG, incredibly gifted. No wonder there is not a sound in the audience when she is playing. Can you imagine having an ability to play like that?

I liked the cartoons too!
Reply
03-23-2014, 11:04 AM,
#9
RE: Another sign of the (record label) times
(03-22-2014, 11:38 PM)Babbs234 Wrote: Thanks MAE, I checked out the links you posted. Khatia is OMG, incredibly gifted. No wonder there is not a sound in the audience when she is playing. Can you imagine having an ability to play like that?

I liked the cartoons too!

LOL! Dear Missy Babbs, with the stubs that I have for fingers, it's only in my imagination that I might be able play like that!

I like how grounded Khatia remains -- that playing four handed piano with her sister is still one of her favorite things to do.
Reply
03-23-2014, 06:59 PM, (This post was last modified: 03-23-2014, 07:46 PM by Tom22.)
#10
RE: Another sign of the (record label) times
(03-22-2014, 07:28 PM)My Alter Ego Wrote:
(03-22-2014, 06:59 PM)Babbs234 Wrote: Wow! That was quite a speech Miss MAE.

Mae, you and a few others here on HF are so knowledgeable about music. Smile I wanted to tell you that I enjoy reading what you have to say and appreciate your knowledge and ability to express yourself on all topics in music. I feel like dummy sometimes. Tongue But I am learning, slowly, thru you and others here at HF.com Tongue

Thank you Big Grin

I'm sorry about the length and that it came across as a speech. That was definitely not my intent.

But Babbs, thank you and you're welcome. I'm still learning too, because, oddly, there's always new stuff coming out and, actually, there's just so much to know about, it's hard to learn it all. (For example, just in the past couple of weeks, I've learned that Nina Simone wanted to be a classical pianist and that the song Take the A Train came really close to never being heard. Kaypea has probably known both those little tidbits forever, but I just recently came across both because of random reasons.)


MAE ... thanks !

I worry(know) some people might take my "sharing" as "lecturing" . I also know I should probably find better ways of putting things. My ideas run wild and I want to share them but, I know my attempts to do so often run ammiss in the thoughts to words translation.

Your response is exactly what I dreamed of ! and I really enjoy that sort of thing.

I loved your comments on the hall (I love having details like that drawn to my attention.. one more thing to appreciate in the richly textured world !

I really enjoyed that critic who actually had the right words and the experience and expertise to share her thoughts (unlike me who's just a dilettante ....but, I do think music forums comment forums are a safe place for guys with wild-ranging ideas like myself to "spit them out" without claiming to be professionals.

Your insights about the Conductor perhaps choosing Katia and likely speaking collaboratively giving her insights to his wishes probably is 100% true ! The symphony was magnificently in sync with each other as well as the soloist.... that must have been the case.

LOL I did notice hat hair flip.. yes.. what would a marquee soloist be without one or two moments of vanity (or, yes they might be moved or feel like they want to call on the muses to inspire themselves with those bits of physical drama)

Anyway.. thanks.. I love hearing people share their detailed thoughts and I value your's particularly.

---

As to the Seattle Symphony... I wonder if they are particularly lucky and might have a Microsoft stock hundredmillion or billionaire tossing them a few dozen millions here or there.

People can underestimate how expensive it is to keep a symphony going ...the LA philharmonic fillis a huge auditorium with large swaths of the audience paying over $100 a seat.. some well over, and few , even in the nosebleeds less than $40. Even with that kind of audience they'll lose money and need donations to keep afloat.

To be sure, their budgets are probably a lot more complicated than that, putting all the financial responsibility on the symphony while doing extensive charity and youth enrichment programs and occasional lending of the hall at below break even costs (it might easily cost them over 10k a night to heat , hire ushers , security, clean and set up etc.... if they lent the hall to someone like the NOLO at their bare minimums to come out even the Nolo would need to sell a large number of expensive seats so they didn't in turn lose real money on both their travel and the venue rental.... I remember your thoughts about how including Haley helped them cover costs on top of fulfilling their goals of constantly enlarging and renewing interest in Jazz.

Keeping interest in fine music also cannot be considered a given. I share your excitement about the Seattle orchestra being willing to embrace the online medium.

Making performances free on the web will bring them more revenues in the long run I believe as it sustains interest even among people already interested. I'm motivated to get a recording of the above performance if it is available..(ill need to probe around.lazy me)... The Seattle sypmphony sounds like it is taking the next step....actually having the performances professionally recorded and easy to buy after people hear and enjoy them for free (and for those that don't have the funds, they can just learn to love the music and perhaps, at a later time in life they can help fund it $)
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