As anybody else’s my listening habits are subjects of infatuations. Sometimes I develop some unhealthy interest to some music and being a compulsive Cat I begin to suck it in at full throttle. My last infatuation was the Beethoven last movement of the Ninths sang in different languages. That was fun. My currant new old love are the Dvorák’s Symphonic Poems, all those The Golden Spinning Wheel, The Noon Witch, The Hero's Song, The Wild Dove, The Water Goblin…
They are wonderful, in the best tradition of Richard Strauss, Franz Liszt, Claude Debussy and many other but with own Czech twist that I so love. In the Dvorák’s Tone Poems my interest to music and audio and I might for hours to spin the same let say Vaclav Talich’s records and to think about tonal demands of Dvorák’s composition projected to the sophistication of cartridges or to the simplicity of cables. I hope you understand that I do not allow MiniMe to play this music.
I wonder if anyone has tonally-different interpretation of Dvorák’s Tone Poems, different from the best what the Czech-Vienna-South Germany orchestras had offer? I would like to have the same tonal reaches but I would like it to play “larger”, sort of the Concertgebouw-type of sound but at open air, with old Philadelphia twist and twice slower than anybody play it up to now…
Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche