More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)
26 July
This was played last night, in the Prom's first half, for the first time there.
I have no idea why. (Or why applause was needed after every movement*.)
I am now less resentful of what Mahler did to orchestrate Schubert's String Quartet No. 14, Death and The Maiden, because it still sounded like Schubert:
This orchestration, the work of George Szell, had little identifiable connection with the original, and used brass, amongst its textures. Perhaps the composer's intentions in writing a quartet, which we were repeatedly told contained a motif at the end that represented his blindness (or was it, after all, deafness?), were as dispensable as good employee relations in Ohio.
(Click here to go directly to the Festival web-site)
26 July
This was played last night, in the Prom's first half, for the first time there.
I have no idea why. (Or why applause was needed after every movement*.)
I am now less resentful of what Mahler did to orchestrate Schubert's String Quartet No. 14, Death and The Maiden, because it still sounded like Schubert:
This orchestration, the work of George Szell, had little identifiable connection with the original, and used brass, amongst its textures. Perhaps the composer's intentions in writing a quartet, which we were repeatedly told contained a motif at the end that represented his blindness (or was it, after all, deafness?), were as dispensable as good employee relations in Ohio.
If you had asked me what I was listening to (without the benefit of whoever's wisdom it was beforehand, or to schedule), I would have had no idea, although I like this string quartet. All grist to the orchestral mill, I s'pose.
End-notes
* Unless it was shocked, grieving applause in embarrassment by those who knew the original.
