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Post by Uncle Henry on Jan 23, 2016 19:07:40 GMT -5
The grand and serious orchestral piece Mysterium Času (The Mystery of Time) was written in 1957 by the Prague man Miloslav Kabeláč, and is described by Grove's as a passacaglia. It is played here by the orchestra of the Finnish wireless corporation. The tympanist, with his five devices, gives a particularly gripping performance. Could he be a Lapp one wonders? (Later: No, he is Japanese.) And do members think it really seemly for females to perform on the trombone?    Members may experience the whole here: thethird.freeforums.net/thread/767/mystery-timeDuration twenty-seven minutes, File size 428,208,045 bytes |
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PaxAm
New Member
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Post by PaxAm on Mar 31, 2016 0:58:12 GMT -5
Thank you for this!
Who is the conductor?
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Post by Uncle Henry on Mar 31, 2016 4:26:43 GMT -5
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Post by ahinton on Mar 31, 2016 9:02:28 GMT -5
It is played here by the orchestra of the Finnish wireless corporation Never heard of it! The tympanist, with his five devices, gives a particularly gripping performance. Could he be a Lapp one wonders? (Later: No, he is Japanese.) Why might "one" wonder that? Is it of any real importance? And do members think it really seemly for females to perform on the trombone? This particular member fails to understand why you have even asked the question; what has "seemliness" (whatever that is supposed to mean, if indeed anything at all of any consequence) to do with the principle of anyone performing on any musical instrument and on what specific grounds might you think to question - as you seem to imply that you do - the appropriateness of women taking up any particular musical instrument as distinct from any other? - and why have you singled out the trombone in this particular instance? Isn't all that actually matters whether women are good at playing members of the trombone family, or the cello, or the tuba, or the double bass, or the organ, or the piano, or whatever else? I once briefly had percussion lessons from a woman who I recall stating that women with short arms should be carful when clashing cymbals but, even then, she was really just making a joke about prejudiced dimwits who might think to question the wisdom of women choosing to play certain intsruments. What strange ideas up with which you are wont to come de temps en temps! |
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Post by ahinton on Mar 31, 2016 9:48:00 GMT -5
Jakub Hrůša is indeed a Czech conductor, born in Brno in 1981; he is Chief Conductor Designate, Bamberg Symphony Orchestra, Principal Guest Conductor, Tokyo Metropolitan Symphony Orchestra and Permanent Guest Conductor, Czech Philharmonic Orchestra. |
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Deleted
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Post by Deleted on Apr 1, 2016 4:26:19 GMT -5
Why might "one" wonder that? Is it of any real importance? Does it not do to be always looking out for points of interest in the world around one as we pass through it? When considering some composer (a Mr. Lee say) would it not be of significance to know whether he was Korean or Welsh? And in exactly the same way when considering some tympanist is it not of significance to know whether he is Japanese or an old Herefordian, or both even? A similar observance is required in the face of some uncouth Welshman's symphony for two discordant violoncellos played simultaneously by one unattended lady. |
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Post by Uncle Henry on Apr 1, 2016 4:42:44 GMT -5
This is he:  What a performance he gives us! What battery! |
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Post by ahinton on Apr 1, 2016 6:22:19 GMT -5
Why might "one" wonder that? Is it of any real importance? Does it not do to be always looking out for points of interest in the world around one as we pass through it? When considering some composer (a Mr. Lee say) would it not be of significance to know whether he was Korean or Welsh? And in exactly the same way when considering some tympanist is it not of significance to know whether he is Japanese or an old Herefordian, or both even? A similar observance is required in the face of some uncouth Welshman's symphony for two discordant violoncellos played simultaneously by one unattended lady. Points of interest, yes - but my point (whether or not is might be of interest to you) was that, as interest levels vary immensely from subject to subject and from observer to observer, the nationality of a particular orchestral performer is unlikely to be of especial interest to most people and certainly of less than their performance abilities. That said, I note that you omit reference to, let alone answer, my question about your most curious attribution of "seemliness" or otherwise in respect of certain women instrumentalists... I have no idea what you intend to mean by your last sentence, as (a) I have no idea to which Welshman you refer (b) I do not know to what symphony you allude (c) I cannot imagine what you mean by "one unattended lady" in the context concerned and (d) a cello or pair thereof cannot of itself/themselves be "discordant". |
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