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A nice enough performance, but doesn’t hold a candle to Muti and the Philadelphians.

You are referring to this baby?

Respighi: Pini diRoma / Fontane di Roma / Feste Romane

Hurwitzer seems a fan, also... and it comes from Muti's hot period (roughly where he recorded his Scriabin, I'd think... and maybe even his Prokofiev for Philips.
General Classical Music Discussion / Re: What are you listening to now?
« Last post by RebLem on Today at 12:09:12 AM »
On Saturday, 20 January 2018, I listened to 10 CDs.

Alexander Scriabin (1872-1915)  Tr. 1-3, Sym. No. 3 in C minor, Op. 43 "Le Divin Poème" (48'23)  |Tr. 4, Prometheus: The Poem of Fire, Op. 60 (1910) (20'47)--Dmitri Alexeev, piano (in Op. 60),  Riccardo Muti, cond.(both), Philadelphia Orch.(both) & The Choral Arts Society of Philadelphia (in Op. 60).  CD 3 of a 3 CD Brilliant set of the complete Scriabin Symphonies by Muti & The Philaelphia Orch.  Licensed from EMI.  Rec. 1986-91 in Memorial Hall, Philadelphia.

Per Wikipedia, Prometheus is a symphonic work for piano, orchestra, optional choir, and clavier à lumières or "Chromola" (a color organ invented by Preston Millar, in fact rarely featured in performances of the piece, including those during Scriabin's lifetime). Prometheus is only loosely based on the myth of Prometheus.

These are lush, extraordinarily well recorded performances by one of the great orchestras. 

Francis Poulenc (1899-1963):  Piano music,  Tr. 1-3, Trois Mouvements perpétuels (1919), FP 14  (4'58)  |Tr. 4-6, Trois novelettes (1927-1928, 1958), FP 47 (first two) and FP 173 (third) (6'49)  |Tr. 7, Valse in C Major (1'48)  |Tr. 8, Pastourelle (1927) (2'07)  |Tr. 9-15, Suite francaise (11'37)  |Tr. 16, Presto in B Flat (1'42)  |Tr. 17-19, Sonata for Piano 4 hands (1918) (5'31)  |Tr. 20, L'embarquement pour Cythère, valse-musette pour Deux Pianos (1951), FP 150  |Tr. 21-23, Suite in C Major (1920), FP 19 (5'25)  |Tr. 24-26, Trois pièces (1918, 1928), FP 48 (8'32)  |Tr. 27, Mélancolie (1940), FP 105 (5'39)  |Tr. 28, Humoresque (1934), FP 72 (1'40)  |Tr. 29-31, Trois intermezzi (1934, 1943), FP 71 (Nos. 1 & 2) and FP 118 (No. 3) (7'36)  |Tr. 32-37, Villageoises, pièces enfantines pour piano (1933), FP 65 (4'01)  |Tr. 38, Française, d'après Claude Gervaise (1939), FP 103 (1'33)  |Tr. 39, Bourrée, au pavillon d'Auvergne (1937), FP 87 (1'33)--Gabriel Tacchino, piano (all), Jacques Février (in 4 hand pieces)--Rec. 1966-83 Salle Wagram, Paris.  EMI.

This represents about a third of Poulenc's works for solo and duo piano.  This music is light-hearted and cheerful, and they all seem composed as etudes, exercises for piano students to practice certain skills.  Many of them are very simple, easily played pieces, others much more difficult.  Most of these pieces have an almost Mozartean feel about them.  But don't get me wrong; it is very pleasant music, even if they do have a certain bon-bon quality to them.

Anton Bruckner (1824-96): Sym. 7 in E Major (68'36)--Georg Solti, cond., Chicago Sym. Orch.  Rec. !0/1986, Medinah Temple, Chicago.  CD 8 of a 10 CD DECCA set of all the Bruckner Symphonies by these forces. 

Superb performance.

Music for the Coronation of King George II (1727)--This is a 2 CD Hyperion set.  It is subtitled "Handel's Coronation Anthems anc ceremonial music by Purcell, Blow, Tallis, Gibbons, Farmer, and Child, trumpet fanfares, drum processions, shouts of acclamation and pealing bells."  And so it is!  The King's Consort and Choir, Robert King, dir.  Recorded in St Jude-on-the-Hill, Hampstead Garden Suburb, London, including recordings of bells from 4 churches scattered around Britain.  I couldn't find recording dates listed anywhere.  TT: 100'47.

J.S. Bach (1685-1750): Der Kunst der Fuge, BWV 1080 (85'22)--CD 1 (69'17 + 16'05 of CD 2)  |CD, Tr. 3, Willibald von Gluck (1714-87): Don Giovanni: Allegretto (1'00)  |CD 2, Tr. 4-8, Jean-Philippe Rameau (1683-1764): Nouvelles suites de pièces de clavecin (1726/27) – Suite in G (23'15)  |Tr. 9-10, Jean-Baptiste Lully (1632-87): Menuet et Arioso (5'14)  |Tr. 11-13, Marin Marais (1656-1728): Three pieces for viole (5'43)  |Henry Purcell (1659-95): Tr. 14, Fantasia for viols # 8 (3'55), Tr. 15, Fantasia for viols # 12 (3'47)--Rudolf Barshai, cond., Moscow Chamber Orch., Alexander Korneyev, flute (Tr. 8), Rudolf Barshai, viola (Tr. 9-10), Boris Dobrokhotov, Irina Morosova, violas da gamba (Tr.11-13).  CDS 1-2 of a 10 CD Brilliant collection of performances by Barshai and the Moscow Chamber Orch.  Rec. 19 June  1969.  Licensed from Gostelradiofund, Russuan Federation.

As noted, these are the first two CDs of a 10 CD set.  These are all live broadcast performances. 

F.J. Haydn (1732-1809):  Tr. 1-4, Sym. 55 in E Flat Major "Der Schulmeister" (20'30)  |Tr. 5-8, Sym. 56 in C Major (24'37)  |Tr. 9-12, Sym. 57 in D Major (22'55)--Adam Fischer, cond., Austro-Humgarain Haydn Orch.--Rec. 1996 Haydnsaal, Esterhazy Palace, Eisenstadt, Austria.  CD 16 of a 33 CD Brilliant set of the complete Haydn Symphonies by these forces.  Licensed from Nimbus Records.

These performances are of a piece with the rest.  Strong, idiomatic Haydn.

Beethoven (1770-1827): Piano Concerto 5 in E Flat Major, Op. 73 "Emperor" (38'08)  |Tr. 4-6, Tchaikovsky: Piano Concerto 1 in B Flat Minor, Op. 23 (33'00)--Clifford Curzon, piano, George Szell, cond., London Philharmonic Orch. (Beethoven)--rec. 12-13 SEP 1949.  New Symphony Orchestra (Tchaikovsky)--rec. 5-7 & 9 SEP 1950.  Both recorded in Kingsway Hall, London.  CD 1 of a 23 CD + 1 DVD set of Clifford Curzon's complete recordings for DECCA.

The combination of Clifford Curzon and George Szell is a potent one.  Although these are old MONO recordings, they have been restored to unbelievably high fidelity by the wizzards at DECCA.

The Beethoven is strong, idiomatic, and fairly dances with the lightness of a great ballet dancer over the most difficult passages with unerring accuracy and stylistic elan.

The Tchaikovsky starts off a bit stiff and metronomic to begin with, but became a little looser as the work went on.  Still, some stiffness returns when the main themes are restated.  Not as good a performance relative to the competition as the Beethoven.

Arnold Rosner (1945-2013): |Tr. 1, String Quartet 2 in A Minor, Op. 19 (1963) (17'35)  |Tr. 2-4, String Quartet 3, Op. 32 (1965, rev. 1992) (24'29)  |Tr. 5, String Quartet 5 in D Minor, Op. 66 (1977) (15'50)  |Tr. 6, Duet for Violas, Op. 94 (1991) (8'09)--Ad Hoc String Quartet (Paul Vanderwerf, violin 1, David Belden, violin 2, Diedre Buckley, viola, James Fellenbaum, cello), Mark Ottesen, viola 2 in Duet.--An Albany Records CD, rec. 28-30 May 1994 in Northminster Prebyterian Church, Evanston, IL.

This is music with a much stronger and deeper emotional impact than Volume 1 in this series, which I recently heard and reviewed.  It is helped by the fact that the same players  are on the whole CD, so a unity of aesthetic view prevails.  Highly recommended.
Great Recordings and Reviews / Re: Early English Vocal Music
« Last post by Mandryka on Today at 12:05:14 AM »

I just want to report that I've been really enjoying this recording based around Ludford's Missa Videte Miruculum from The Cardinall's Musick. It's maybe not Ludford's most striking mass, but I find that it is lovely to hear it in the context of the chant that Carwood interleaves with the polyphonic music. Somehow the contrast enhances both, and the transitions are evocative.  It's a mass which really benefits from its context somehow.
Great Recordings and Reviews / Re: Early English Vocal Music
« Last post by Mandryka on January 20, 2018, 11:38:02 PM »
The Hilliards recorded the Old Hall Manuscript, which includes three pieces by Power (about ten minutes worth).

There's apparently one other recording of the OHM

I was listenening to some of that recording of OHM from Hilliard a couple of days ago because a motet by John Forest got my attention on Binchois Consort's "100 years war" recording,  Ascendit Christus. I recommend the Binchois Consort recording to you, by the way, I think they're really on good form at the moment.

Slowly I'm getting more of a feel for these English composers who so influenced Ockeghem and Dufay.

There's lots of bits of Leonal Power dotted around from Binchois Consort and Gothic Voices. Even Deller paid lip service and recorded a mass movement, as has Blue Heron and Orlando Consort,
Composer Discussion / Re: The Snowshoed Sibelius
« Last post by ørfeo on January 20, 2018, 11:26:30 PM »
I (think) I am missing Oceanides, Spring song, Pohjolas daughter, Luonnotar, Nightride and probably a few more lesser known ones.
I have several of Tapiola and Finlandia and also The Bard, En saga, Lemminkainen 1-4, Valse triste, Karelia-Suite.

I actually had the Segerstam with the Tempest suites already on my list of things to probably get. I guess Oceanides, Pohjolas daughter, Luonnotar and Nightride are the major tone poems I am still missing. Besides the Segerstam disc I thought about the following disc:

This will leave Luonnotar where I should probably listen to some samples because the singer will be important. The lesser theatre music can probably wait or I could sample one of the Segerstam/Naxos.

I bought the Vanska disc you’re looking at, for pretty much the same purpose. It has a good collection of tone poems and, unlike a lot of Vanska discs, doesn’t have any funny scraps or alternate versions.

I’m generally happy with it, although for the only piece where I could do a direct comparison I prefer my other version (En Saga, Ashkenazy conducting).
General Classical Music Discussion / Re: What are you listening to now?
« Last post by Harry's corner on January 20, 2018, 11:25:09 PM »
Thank you :) I'm greatly looking forward to exploring more of Vasks' music! I'll be sure to check out that recording at some point.

That reminds me that I have about 8 CD'S in my pile with his music for quite some time. (Vask)
I did not get to them for some reason, although I love his music..
This disc is on top of that pile.
General Classical Music Discussion / Re: What are you listening to now?
« Last post by Harry's corner on January 20, 2018, 11:23:13 PM »

Superb set. The Gavotte (track # 5) is worth the price of the disc.

Strongly recommended.

I too treasure that box. :)
General Classical Music Discussion / Re: Unpopular Opinions
« Last post by ørfeo on January 20, 2018, 11:18:52 PM »
Beauty tends to be harder to see whizzing by from a moving train.

I took some great, impressionistic photos of trees out of a speeding train once.
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