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08/21/2018
Meggi
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Meggi
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Class with the Jönnekönner?
When Sergei Rachmaninov performed his second piano concerto in the St. Petersburg Philharmonic, the oldest in the country, a critic remarked: "As a provincial from Moscow, he was to take lessons from Rimsky-Korssakov."
That remark is, of course, unfair. Not specifically the provincial thing. No, from today's point of view the composer of the concert in question - a virtuoso battlehorse that has been played many times to this day - would hardly have needed any further instruction.
He would, however, have been in good hands with Rimsky-Korssakov, who in an astonishingly selfless way had taken care of one or the other unfinished composition of Modest Mussorgsky, who had died early of drunkenness. Even though he must have felt that his friend might have had the more instinctive, primal, immediate gift during the time when the two shared the room up to the desk. He modestly noted about his post-editing of "Boris Godunov": "If you ever come to the conclusion that the original is better than my revision, you will discard my version" The man must have been a noble Jönne man.
And he had certainly had a formative influence on musical life at that time. Funnily enough, listening to Rachmaninov's first symphony, I had just fallen into the trap of thinking that it was somewhere between Rimsky-Korssakov and Bruckner. Like someone hasn't found his final line yet. Not as far as the musical "raw material" is concerned. In this respect, an abundance is being discovered that would carry some film composers throughout their professional lives. But the work as a whole has an effect on me...unround.
I have a similar impression at 'Carmen'.
From the front: A prelude like that of thickened orange juice or bitter orange is quickly put over a kind of duet of birch and above all castoreum, sour-leathery at the border to the smoked fish, if not cod liver oil. No oodles of the latter, just an accent. An addition of jasmine bitterness creates an extremely delightful chord, which - with due caution - could be judged by XerJoff. Demanding and flattering at the same time. A little nutty-sweet accompanies the meanwhile dried orange without touching the Gormandy, because 'Carmen' is (until now) a Castoreum scent in its core.
Towards noon, however, the obstige part unfortunately shifts towards the prune, to which the white flowers add a bitter sting. And although the Castoreum, which is still present, could or should actually have a connecting effect, the resulting aura of dry obeisance and bloom seems to me like a sudden new idea, which lacks the connection to the front part. Yes, in comparison to the distinctive, unquestionably sexy morning that even seems a little lame, almost piefig. As if Carmen had unimaginably actually married Don José and is now a housewife with seven children, fried potatoes on the stove and brown felt potatoes on her feet. If this is intended, and perhaps to reflect the brokenness of the character Carmen, I think it would have been an exaggerated success.
A strangely clean musk, which in my case in the late afternoon even evoked a spontaneous association - I hardly believe it myself - with Floris' gentleman scent 'Elite', underscores the curious transformation. A slightly scratchy, earthy-mineral end in the evening can probably be considered a purely basal requirement.
Conclusion: This 'Carmen' leaves me irritated after a furious first half. I personally find - to stay with the manufacturer - the Castoreum theme in 'La Gitane' more coherent around and continued.
But the great start alone is definitely worth the test.
I thank Can777 for the rehearsal.
That remark is, of course, unfair. Not specifically the provincial thing. No, from today's point of view the composer of the concert in question - a virtuoso battlehorse that has been played many times to this day - would hardly have needed any further instruction.
He would, however, have been in good hands with Rimsky-Korssakov, who in an astonishingly selfless way had taken care of one or the other unfinished composition of Modest Mussorgsky, who had died early of drunkenness. Even though he must have felt that his friend might have had the more instinctive, primal, immediate gift during the time when the two shared the room up to the desk. He modestly noted about his post-editing of "Boris Godunov": "If you ever come to the conclusion that the original is better than my revision, you will discard my version" The man must have been a noble Jönne man.
And he had certainly had a formative influence on musical life at that time. Funnily enough, listening to Rachmaninov's first symphony, I had just fallen into the trap of thinking that it was somewhere between Rimsky-Korssakov and Bruckner. Like someone hasn't found his final line yet. Not as far as the musical "raw material" is concerned. In this respect, an abundance is being discovered that would carry some film composers throughout their professional lives. But the work as a whole has an effect on me...unround.
I have a similar impression at 'Carmen'.
From the front: A prelude like that of thickened orange juice or bitter orange is quickly put over a kind of duet of birch and above all castoreum, sour-leathery at the border to the smoked fish, if not cod liver oil. No oodles of the latter, just an accent. An addition of jasmine bitterness creates an extremely delightful chord, which - with due caution - could be judged by XerJoff. Demanding and flattering at the same time. A little nutty-sweet accompanies the meanwhile dried orange without touching the Gormandy, because 'Carmen' is (until now) a Castoreum scent in its core.
Towards noon, however, the obstige part unfortunately shifts towards the prune, to which the white flowers add a bitter sting. And although the Castoreum, which is still present, could or should actually have a connecting effect, the resulting aura of dry obeisance and bloom seems to me like a sudden new idea, which lacks the connection to the front part. Yes, in comparison to the distinctive, unquestionably sexy morning that even seems a little lame, almost piefig. As if Carmen had unimaginably actually married Don José and is now a housewife with seven children, fried potatoes on the stove and brown felt potatoes on her feet. If this is intended, and perhaps to reflect the brokenness of the character Carmen, I think it would have been an exaggerated success.
A strangely clean musk, which in my case in the late afternoon even evoked a spontaneous association - I hardly believe it myself - with Floris' gentleman scent 'Elite', underscores the curious transformation. A slightly scratchy, earthy-mineral end in the evening can probably be considered a purely basal requirement.
Conclusion: This 'Carmen' leaves me irritated after a furious first half. I personally find - to stay with the manufacturer - the Castoreum theme in 'La Gitane' more coherent around and continued.
But the great start alone is definitely worth the test.
I thank Can777 for the rehearsal.
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