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Well, not always pianissimo. One thing I can't stand is the butchering of a good tune. Be it Uncle Cracker's...interpretation of Dobie's Drift Away or a conductor marring Tchaikovsky. If it ain't fucking broke...but homage and all that. Flawed point: the homage of a remake is different than playing a piece written by a dead guy, but whatev.

No. 1 Scene, Swan Lake, Nutcracker: Tchaikov--he's been done and done again and will be played probably centuries hence. He's been done well, amazingly, mediocre, and, of course, epically shitty. One thing I hate to lose in the various interpretations of my favorite Nut tune is the drama. It drips with it, when done right, and comes off as an emo two-year-old when massacred by overeager conductors. The orchestra is not meant to be sped headlong into mangling the heavy, climactic crescendo. Sounds like a carriage wreck with horselimbs flying everywhere.

Dignity. Deliberation. Discipline. The London Festival Orchestra nailed it, and I've yet to hear a better interpretation live or otherwise (the Bolshoi notwithstanding). Of course, it is the LFO, but if you want good fettuccine you don't go to a fast-food place, right? Not that they serve that there but I'm sure there's one somewhere.

Sometimes slow and heavy is the key. Not ponderous or uncoordinated, but patient, careful, sneaking up and whammo-ing the listener for maximum effect, and stretching it out. The big bang of No. 1 Scene is all about that, and the LFO takes the setup and paints the color, delineates the field, and builds the army. It's like an assault destined for defeat, some kind of sad, beautiful charge before a fall. And equating this piece of music to any kind of battle is really, really corny and I think ol' Pete would smack me for it, and right he'd be.

Guess what I'm listening to right now? The muse spoke up, I guess, and it's been pretty quiet lately, so silly post or not, s'what was on my mind.

Z aus.

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icesamzero

May 2012

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