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Your weekend listening, reading, viewing starts here

A bumper crop for a holiday weekend.

1 A crime thriller set in 1930s China

http://www.openlettersmonthly.com/book-review-midnight-in-peking/

2 A violinist remembers Fischer-Dieskau

http://www.sequenza21.com/2012/05/philip-setzer-violinist-of-emerson-string-quartet-dietrich-fischer-dieskau-an-outline-of-memories/

3 The BBC TV feed of the coronation of Queen Elizabeth II in June 1953

http://www.youtube.com/watch?v=aGLN1kREJ2Q

4 This week’s 50th anniversary performance of the War Requiem (the one the BBC wouldn’t show)

http://thespace.org/faq

5 A hidden master of science fiction

http://www.openlettersmonthly.com/the-dangers-of-failing-to-lesnerize/

6 England’s greatest mathematician selects his all-time cricket XIs

http://www-history.mcs.st-and.ac.uk/Extras/Hardy_cricket_teams.html

7 Let’s return to true Verdi pitch

8 Artist and composer Tom Philips, RA, at 75

http://www.royalacademy.org.uk/ra-magazine/blog/video-tom-phillips-ra-at-flowers-gallery,208,BAR.html

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Comments

  1. Jordi Papageno says:

    In Catalonia, Beethoven on the street.
    I hope that moves you as much as me:

    http://youtu.be/GBaHPND2QJg

  2. Re Verdi pitch. Before we run out an get all new woodwind instruments remade to 435 Hz and thousands of pipe organ pipes redone, and millions of rehearsal-piano strings retuned, I’d like to make sure these singers NEVER have and never will interpolate a single unwritten high note, and will always ALWAYS perform written trills (and do them as true vocal trills and not very wide and extremely ugly vibrato), and that none of them will ever again sing in a non-horseshoe-shaped opera house larger than that prevailing in the late 19th Century (addio Metropolitan Opera, which is approximately twice too large)! I’m all for authenticity, original instruments and even for low pitch in Baroque and Classical music. But to expect the present operatic establishment to pay any attention to this issue is hopeless. The pressure would have to come from the Early Music movement as it extends its influence over more of the 19th Century, for better or worse.

    PS: Brunnhildes rarely attempt, much less succeed at, the F# trills that Wagner specified in Brunnhilde’s war cry at the opening of Walkure Act 2. And they, the un- or under-perfomed trills, return during the Act 3 Ride. They’d all be hair-raising if clearly audible.

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