Meanwhile, I have become the true champion cook of braised oxtail. The remains this evening were of world championship standard. I must embark on a new stew-up (oxtail, onions, carrots, mushrooms, many herbs, and good red wine, plus 5-6 hours of slow cooking).
Saturday 13 December 2008
My musical listening remains dominated by Johann Sebastian and Georg Frideric. This evening I sat back and basked in the new Acis & Galatea (John Butt). Music to sit back with and enjoy. Then on to three Bach cantatas directed by Sigiswald Kuijken; as I wrote very recently, what appeals to me about Kuijken in Bach is the exemplary concentration on clarity of texture; with Sigiswald, you hear all the notes. I must augment my collection of Kuijken Bach cantatas -- I am missing three of the current seven volumes.
Meanwhile, I have become the true champion cook of braised oxtail. The remains this evening were of world championship standard. I must embark on a new stew-up (oxtail, onions, carrots, mushrooms, many herbs, and good red wine, plus 5-6 hours of slow cooking).
Meanwhile, I have become the true champion cook of braised oxtail. The remains this evening were of world championship standard. I must embark on a new stew-up (oxtail, onions, carrots, mushrooms, many herbs, and good red wine, plus 5-6 hours of slow cooking).
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4 comments:
Good time fo the day!
You wrote "with Sigiswald, you get the notes, the whole notes and nothing but the notes"... This hardly sounds as a compliment, rather the opposite. I played with Sigiswald 12 years (most likely you knew him for much, much longer). Sometimes it has perhaps been "nothing but the notes". However, imho, LPB dealt with the content of the notes and the fresh approach to them formidably well.
Regards,
D.B.
Dmitry,
I stand humbly corrected. I was carried away by a phrase, rather than thinking of the meaning. I have amended my blog entry to read "with Sigiswald you hear all the notes. At last we can agree on Sigiswald's Bach!
Sigiswald's Bach was one of my best experiences. Specially the sacred works where the instruments too tell the story.
I have the impression that Bach directors who come from an orchestral background (Kuijken and Christophe Coin, for example) have an initial advantage over those who come from a choral background (Gardiner, Herreweghe). Whatever; Bach is relatively easy to play, but extremely difficult to play well. And any director who concentrates on the vocal line and lets the orchestral line play itself is going down the wrong track.
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