Comments for Kenneth Woods- A View From the Podium

Comment on Guest blog: Peter Davison- Since Mendelssohn Left Rhydymwyn by Peter

Peter — Thu, 24 May 2012 07:43:46 +0000

Dear Patricia, thanks for your kind words – I stroll that valley too from time to time, although I live on the other side of the River Dee, and it is a true hidden gem full of fascinating history.

Comment on Haydn- more talented than Mozart by Tom Rose

Tom Rose — Wed, 23 May 2012 10:25:51 +0000

As a young pianist I was brought up on Bach, Mozart, Beethoven (and aargh, Clementi, Czerny, …). For years I subscribed to the conventional belief that Haydn was the poor relation of the “Big Three”.

Fortunately, around my 50th birthday, I began to LISTEN for myself. Bach, Mozart, Beethoven, ar undeniably great, but in the realm of piano I prefer Haydn’s piano sonatas to the keyboard works of any of them, or of the great Romantics and Moderns that followed.

I won’t say Haydn was the “Greatest”. But he is far and away my FAVOURITE (and I have heard many times everything that Bach, Mozart, Beethoven, Brahms, CHopin, Liszt and many others have written for the piano and its predecessors.

Comment on Guest blog: Peter Davison- Since Mendelssohn Left Rhydymwyn by Patricia

Patricia — Tue, 22 May 2012 10:57:59 +0000

What a delightful piece about Rhydymwyn, incorporating Music, History, Literature, Nature and Geography. I walk ‘the leete’ daily with my dogs, it is beautiful and peaceful with an abundace of wildlife, if I did not live here I would be inspired to visit.

Comment on Expert’s Perspective- Mahler 8, What is “the Eternal Feminine?” by Peter

Peter — Thu, 17 May 2012 22:15:05 +0000

I would agree that Mahler finds many subtle interconnections, musical and philosophical, between the movements and that underlines that they are not in every sense polar opposites. You might say that the first movement is a masculine response to the influx of feminine spirit. It is inspired in a very real sense, and Mahler of course dedicated thew work to his wife. The main point is that masculine and feminine aspects reinforce eachother, rather than being antagonistic. Divine inspiration has masculine force, but it is felt through feminine feeling, yet results in a robust masculine form filled by a feminine flow of lyricism.

Yet the contrapuntal and archaic character of the first movement derives from Christian patriarchy (the words are by an archbishop !), while the second part, which is more improvised in form, is the fruit of the free-thinking Romantic period. The Christian symbols become feminised, more personal and unorthodox. Where previously collective orthodoxy and hierarchy had prevailed, now the form is loosened and expression aspires to the boundless and esctatic.

Comment on Expert’s Perspective- Mahler 8, What is “the Eternal Feminine?” by Nick Palmer

Nick Palmer — Thu, 17 May 2012 19:30:05 +0000

I would argue Part I is also feminine. First, there is a long tradition of regarding the Holy Spirit as the feminine in the Trinity. Second, the ideas in the verses Mahler selects from the Pentecost Sequence strengthen that notion: take rest in our hearts, comfort us, enlighten our eyes, scare away the evil spirits that frighten us, etc… Third, the music itself recalls an older notion of the feminine in music, via key relationship (Eb-Ab-Db-) and even a IV – I cadence at the end of the movement.

Comment on Explore the Score- Prokofiev Classical Symphony by Anders Lotsson

Anders Lotsson — Thu, 17 May 2012 10:55:13 +0000

My lips start to hurt every time I listen to the flutes in the 4th movement.

Comment on Dvorak- Symphony no. 8 by Ed Tattersall

Ed Tattersall — Tue, 15 May 2012 20:54:43 +0000

Have been listening to the last five Dvorak symphonies again. Some of the received opinions in older books are irritating, especially the denigration of the ‘New World’ Symphony and the suggestion that the more Brahmsian a work is (e.g. nos. 6 and 7) somehow the better. All five are wonderful, but no. 8 is the one I have always loved best. I was thinking about the way in which solemn and sad music in it keeps turning to rumbustious (and noisy!) sounds with an orchestral colour that in places reminds me of Tchaikowsky or even Shotakovitch. This contrast – within all the movements – is one of the things that gives the piece a special power. The suggested link with memories of dead children strikes me as really illuminating. I also realise how little of this composer’s work I really know, and I want to widen my knowledge. What are the ‘must knows’ apart from the symphonies, cello concerto, piano quintet and the two lovely serenades (and, evidently, the Stabat Mater)?

Comment on Urtext Myths 3- You’re seeing exactly what the composer wrote by Kenneth Woods

Kenneth Woods — Tue, 08 May 2012 12:24:23 +0000

Dear Paul

Many thanks for your fascinating comment. It’s fantastic to have your input- not least because I’m very much a fan of your playing. I’m curious whether you still do some version of the two half-note rolls today- I realize it depends on the conductor. What would be your default or preferred version? It’s very interesting to know some of the history behind the final thwack, too. It’s amazing to think about how far back these things go- humbling, too, for the conductor who would tamper with them….

Thanks again for getting in touch!

Ken

Comment on Urtext Myths 3- You’re seeing exactly what the composer wrote by Paul Yancich

Paul Yancich — Sat, 05 May 2012 20:08:52 +0000

I am Paul Yancich, that timpanist and still timpanist of The Cleveland Orchestra.
I had been taught to play the last measure of Beethoven 5th as one continuous roll and had done so until Mr. Dohnanyi asked me to ” Do something with the last measure.” Once he released me from the “tradition” I tried several versions and then came up with what you hear and see on the video. For those interested,the key is to maintain the half note tempo of the previous measures- two very quick roll attacks.
You will also notice that Mr Dohnanyi indicates a final struck note which is not in the part or score, which you can clearly hear. That is something that he picked up from me which I was taught by my teacher Cloyd Duff timpanist of The Cleveland Orchestra 1943-1981, which was taught to him by his teacher Oscar Schwar timpanist of the Philadelphia Orchestra 1904-1946, which was taught to him by his teacher Heinrich Knauer timpanist of the Dresden State Opera which was taught to him by etc… a tradition that has been handed down from generations of timpanists and often misunderstood.

Comment on Furtwangler, Hitler and Beethoven- Hard questions on YouTube by Bob

Bob — Sat, 05 May 2012 05:56:52 +0000

“There is no Jew, filthy as he may be, for whom Furtwängler does not stretch out a helping hand.” — Heinrich Himmler

Comment on Concert Review- Surrey Mozart Players at Guildford Spring Music Festival by Skullcandy Headphones

Skullcandy Headphones — Thu, 03 May 2012 17:50:23 +0000

Performing to the works of Weber, Dvorak, and Brahms does make for a fine performance to culminate this Spring Music Festival. Thank you for sharing this.

Comment on Quote of the Week by hildigunnur

hildigunnur — Fri, 27 Apr 2012 22:48:56 +0000

Laughed out loud.

Comment on Quote of the Week by Kenneth Woods

Kenneth Woods — Thu, 26 Apr 2012 14:22:11 +0000

Dear Lorena

Your comment has made my day. Good for you sticking up for music you love! Makes me want to go spend some time with it and figure out what I’m missing. I wish more people would have the nerve to do the same.

Comment on Quote of the Week by Lorena

Lorena — Thu, 26 Apr 2012 12:28:01 +0000

john rutter is my favourite composer. not everybody has to be beethoven, he is his own type of composer and composes what he wants and likes. I dont think his music is elevator music.

Comment on Walter Weller by Kenneth Woods

Kenneth Woods — Wed, 25 Apr 2012 17:33:26 +0000

Very interesting comment, Iain. Thanks for writing- Weller strikes me as a man of integrity, so I’m not too surprised by his principled stand. Good for him