 The Clarinet BBoard
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Author: AAAClarinet
Date: 2014-04-04 09:53
Hello Bboard.
I was listening to Leister's recording of Spohr 3 https://www.youtube.com/watch?v=9tx-nqhHYuQ and looking at the score on imslp. starting at the second mvt the music doesn't match. can anyone tell me why. Other recordings do match the score on imslp.
AAAClarinet
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Author: Ken Shaw ★2017
Date: 2014-04-04 18:17
A friend of a Leister student told me that Leister found the Spohr concertos useless and boring. He recorded them solely for the money. Everything was done in single takes, which weren't touched up.
Certainly Leister sounds bored. There's much technical perfection, but barely an ounce of music making.
Ken Shaw
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Author: donald
Date: 2014-04-05 10:56
I just looked at the link you posted
It starts with concerto #3, 1st mvt,
then goes to concerto #2 2nd mvt,
then goes to concerto #2 1st mvt
When compiling the various tracks into one track so the whole concerto is in one track on Youtube, they have messed up and got the movements mixed up.
dn
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Author: AAAClarinet
Date: 2014-04-05 16:33
Thanks Donald. I'm not familiar enough with Spohr to have figured it out.
AAAClarinet
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Author: fskelley
Date: 2014-04-06 01:43
At least it's not as bad as the story I've probably already shared here (I do more and more of that the older I get)- where an album of bagpipe music was mastered backwards and nobody noticed until LP's were on the store shelves. It could have happened.
Stan in Orlando
EWI 4000S with modifications
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Author: davyd
Date: 2014-04-07 00:51
"Certainly Leister sounds bored. There's much technical perfection, but barely an ounce of music making."
How can one tell from a recording that a player is bored? What sorts of things should have happened that didn't? (I don't know this concerto.)
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Author: Ken Shaw ★2017
Date: 2014-04-07 01:13
Leister played the Sporh concertos without musical inflection. The phrases began, went on and ended without life or shape.
His tone was the same throughout, without the variation needed to project the emotional content. Major and minor key passages sounded identical, whereas in every good performance, the soloist uses different tones and styles to project the music.
Good soloists push and relax the tempo, responding to the level of excitement in the music. Leister played everything metronomically, and all the same.
He left in fluffs and plain errors, not bothering to make patches.
I like #3 best. I learned it from an amazing LP played by Franz Hammerla (probably a pseudonym, and mastered 1/2 step high). The performance is operatic, with each technical challenge brought off as if on a roller coaster. You think "he'll never make that," and he does, with thrilling panache. Leister plays everything perfectly, but without a scintilla of excitement or senses of risk.
I can tell from a recording whether the player is bored, and just "mailing it in" because I'm bored when I listen to it. With Leister, I had trouble keeping my eyes open.
Ken Shaw
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Author: Ken Shaw ★2017
Date: 2014-04-07 05:38
Mark -
Michael Bryant told me that this recording is the only thing that ever appeared under the Hammerla name. He thinks it's a pseudonym. Do you know of other recordings by him, or any other information?
Ken Shaw
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Author: Mark Charette
Date: 2014-04-07 05:41
Ken Shaw wrote:
> Mark -
>
> Michael Bryant told me that this recording is the only thing
> that ever appeared under the Hammerla name. He thinks it's a
> pseudonym. Do you know of other recordings by him, or any other
> information?
>
That link showed 3 recordings I think.
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Author: Mark Charette
Date: 2014-04-07 19:54
Ken,
I did a quick lookup of the ISBNs provided and they seem legit, but of course expensive to buy even in ebook form considering the limited audience. Perhaps an interlibrary loan someday ... the NYPL might even have a copy of one or more of the references :-)
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