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  • Turboellis
    replied
    Originally posted by Irwin69 View Post

    It's actually driven primarily by China and Hong Kong and to an extent Korea. I have been selling for the past decade and almost invariably the highest prices come from China. The market for the high end records has grown hugely. Albums which were selling for maybe £300 back in 2011-12 have doubled and the £750-£1,000 records are now in the £1,500-£3,000 range in top condition. The lower end has dropped a bit because the market has been flooded by some wholesalers.

    But yes...basic rule of thumb is violin and cello (and ideally NM).
    Madness ...

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  • Irwin69
    replied
    Originally posted by Shere Khan View Post

    I hear it's the Japanese who go especially mad for these, hence some huge prices.
    It's actually driven primarily by China and Hong Kong and to an extent Korea. I have been selling for the past decade and almost invariably the highest prices come from China. The market for the high end records has grown hugely. Albums which were selling for maybe £300 back in 2011-12 have doubled and the £750-£1,000 records are now in the £1,500-£3,000 range in top condition. The lower end has dropped a bit because the market has been flooded by some wholesalers.

    But yes...basic rule of thumb is violin and cello (and ideally NM).

    Leave a comment:


  • Irwin69
    replied
    Newbie here. Have been raiding the classical bins for the last decade. Finally worked out how to get approved to post so thought I would share some recent finds.

    First up, my local charity shop got a giant donation of Lyrita releases last week so was pretty easy to go through and pick out all the TAS list LPs. Was a bit like being able to get in a time machine. Unfortunately they don't appear to have Malcolm Arnold 'English etc Dances' unless someone else got it before me.

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    Second up, from a trip to Reckless in London yesterday Bernstein Mahler 2 and from a trip to NY last month Bernstein Mahler 3. The Mahler 3 was $15 and is NM. The Mahler 2 was £125 and is unplayed but is worth at least £250. I already have a Mahler 2 which I picked up for £2 and have NM charity shop copies of 1,4 & 5. I would like to try and get a full set sourced from charity shops. I have never seen 7 & 9 in the wild in spite of the fact they are by far the least valuable.

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    And finally from a couple of weeks back my best recent purchase for the princely sum of £1 a NM stereo Readers Digest 'Treasury of Great Music'. Not overly valuable but literally one of the great hidden treasures of the charity shops. Stunning performances brilliantly engineered and a fine Decca pressing to boot.

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  • Grim Lounge Cowboy
    replied
    Sparnaay redux!

    He had a bit of a thing going with the ‘bass clarinet-over-a-background’ format did Harry. See his first recording on discogs and you’ll see that he is playing over some musique concrete. Rare in the original, but reissued by Cacophonic.

    “Bouwenstenen” is Harry’s own composition. He plays over a tape of clarinet sounds. I like it best where it is moodily ambient. And that is a large part of it. However, early in the piece we get a couple of brief spells where, apparently out of nowhere, he completely changes pace and tone. One of them puts me in mind of fairground music. If I keep the rip of this I’ll try to edit them out.

    Harry also features in “Seven Pieces for Bass Clarinet and Orchestra” by Tristan Keuris. Dedicated to Harry, it was. I wonder what he made of it. I find it unremarkable. I must have listened to it something like 15 times. Active listening has, though, I concede, been fitful. It just isn't that interesting.

    I haven't listened at all to Geert Van Keulen's "Concerto for Violin and Orchestra". Tell me if you are thinking of buying a copy and you want my thoughts.

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  • Shere Khan
    replied
    Originally posted by bongolia View Post


    (Note to self: keep an eye out for the female violinists)

    I hear it's the Japanese who go especially mad for these, hence some huge prices.

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  • bongolia
    replied
    not given a full listen yet, it needs a clean... i'm probably not the best person to ask though, I think the most I've ever spent on a classical record is a fiver!

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  • Grim Lounge Cowboy
    replied
    Does it merit its e-price?

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  • bongolia
    replied

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    Ginette Neveu - Chausson - Poème / Debussy - Sonata In G Minor / Ravel - Tzigane

    Was in a charity shop yesterday I don't often go to (and turns out it is closing in a few weeks time) and saw this, which, although being my thing composer-wise, I'd actually passed on 6+ months ago, because of the tatty sleeve and ex-library stamp. Bit of a surprise to look it up later on popsike... (Note to self: keep an eye out for the female violinists)


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  • Grim Lounge Cowboy
    replied
    More Dutch contemporary (circa 1985) classical.

    Let’s start with the first track by the Asko Ensemble’s (no details as to instruments, I am afraid). A performance of Flaka by Klas Torstensson.

    My early impression of this was that, a couple of brief quiet spells aside, it was strident and haphazard. Shrill strings and horns punctuated by random obtrusive drumming. Free jazz without that genre’s token gestures towards rhythm and melody.

    The composer’s liner notes record that he was interested in extremes.

    I listened again yesterday at lower volume (the sleeve recommends high volume). It makes passable background music. It was no more coherent, but there were some pleasant enough moments. Not enough of them, though, given the 14 minutes that the piece runs. Passable, but no more than that.

    Harry Sparnaay and his bass clarinet featured twice in my CD swap a year or so back. Here he impresses with Spans, a composed solo piece, again by Torsensson. Torsensson draws on Sparnaay’s commend of extended techniques. Buzzy faux electronics follow didge-like growling.

    Sparnaay’s timing is important here too. He is deft and assured.

    Spans skips about a bit and is fairly engaging. But what Sparnaay can’t provide is a melody. The closest we get to one is a repeated figure derived from a familiar riff in Bizet’s Carmen. But over the nine minutes it isn’t enough to lull the ear and it isn’t used enough to provide structure and consistency. If Spans had been a bit tighter it could have been very good indeed.

    Did I mention that Sparnaay was also a part of the Asko Ensemble?

    Next it is the Asko’s again with Pharos by Cliff Grego. This, at least, is obviously composed. And there is more restraint than in Flaka. Again, though, I can’t discern any obvious structure. It is a 14 minute thread of the sort of mild discordancies you might expect from the avant-garde. There are some effective moments, but it doesn’t work as a piece. Or that is my view until I am shown otherwise.

    In his liner notes the composer says that the piece is a response to how the new music problematises things for the relationship between the composer and the performer. What if he had also factored in the listener?

    Last up is Heterostase by Jan Vriend. It is played by the Het Trio; flute, piano and guess who on bass clarinet.

    Vriend, in his notes, says he is happy with the piece and happy with the performance. Very happy. It is a career best (circa 1985).

    The point of the piece is variation. He wrings about 250 configurations out of the three instruments. The result requires attention as there are no easy regularities to latch on to. Neither, though, is there any of the harshness that is the easy touchstone of the modern. So, attention doesn’t feel like a chore.

    If I am keeping this it will be for the solo Sparnaay.
    Attached Files
    Last edited by Grim Lounge Cowboy; 05-09-2019, 11:25 AM. Reason: typos

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  • Grim Lounge Cowboy
    replied
    The jacket details aren't really visible in the photo. One side of the gatefold has two booklets attached for sleeve notes (Dutch and English).

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  • Turboellis
    replied
    Originally posted by Grim Lounge Cowboy View Post
    I've had my eye on this for a while, primarily for Raxach's "Imaginary Landscape";
    Love the jacket design.

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  • Shere Khan
    replied
    Originally posted by Grim Lounge Cowboy View Post
    There is live take of IL on Youtube, done with a shade more feeling.
    Digging that.

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  • Grim Lounge Cowboy
    replied
    I've had my eye on this for a while, primarily for Raxach's "Imaginary Landscape"; a satisfying nine minutes of undemonstrative flute against a sympathetic percussive backdrop. Music for scenery. If it has a flaw it might be what sounds like an attempt at a climax at the end. But then I suppose he had to give it a sense of an ending.

    There is live take of IL on Youtube, done with a shade more feeling.

    I may try to edit out the baritone vocals from Will Eisma's "Le Gibet". The instrumental passages reflect his studies with some of the big names of the 60's. But they are done with restraint and remain accessible.

    Less restraint from Eisma in "Little Lane" when, fairly frequently, he deploys the weight of the orchestra. Also, though, there is less accessibility. Or, rather, what there is is less engaging. Little catches my attention throughout its 13 minutes.

    Put off by the prospect of the contralto I've not listened to Raxach's "Paraphrase". I also wonder how a work of 16 minutes gets called "Paraphrase". No clues in the liner notes.
    Attached Files
    Last edited by Grim Lounge Cowboy; 27-08-2019, 01:39 PM. Reason: Editing

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  • Xann
    replied
    Penderecki's score for the 1964 film 'Painters Of Gdansk' is brilliant.

    It starts and ends like a very stoned Jacques Loussier, the middle comprises of nods to Romantic classical, 60s soundtracks (duh) and some hefty slabs of concrète.

    POG was a short film showcasing the art scene in Poland, it's not difficult to imagine what sort of images would have accompanied these sounds.

    The piece would sit quite happily in the catalogues of Trunk or Finders Keepers, though they'd have to find a coupling as it's only 20 minutes long

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  • Grim Lounge Cowboy
    replied
    Van Bergiijk and Van Vlijman have left the building! The VV tracks made no impression. The VB tracks made a negative impression - esp the barrel organ track. Perhaps check them on Youtube if you have discovered that you don't happen to share my tastes in such matters.

    Sale of them to a local dude generated $20. That went towards an as-yet-uncompleted purchase which might feature on-site shortly.

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