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Composer Discussion / Re: Langgaard's Lyre
« Last post by North Star on Today at 11:40:22 PM »
Is the Dacapo symphony box a space saver box with sleeves or 7 plastic jewel cases in a paper case?
I have the pleasure of presenting the score and a complete recording of the Violin concerto by Sharon Eitan. He is an Israeli composer, physicist and mathematican. His Violin concerto was composed in 1999 and immediately premiered by the Cuban National Symphony Orchestra under Ivan Del Prado and violinist Anna-Julia Badia. The composition was only available in manuscript so far, but now the full score can be downloaded in a typeset version. The download is free of charge and I also included a complete recording of the premiere performance on my website:

I would be pleased if you stop by and have a look and a listen to this modern composition!

General Classical Music Discussion / Re: What are you listening to now?
« Last post by Christo on Today at 11:16:25 PM »
Sir Eugene Goossens

Arrived this afternoon and I was wondering if the composer has a distinct voice of his own.I   first listen to it in order to give my comments as honest as any artist deserves to get. :)
The symphony is a totally different matter, coherent and more convincing. It has a Delius like poetry and feels like a wandering in the countryside,gentle and timeless. It is a wonderful  composition as we move to the third part, it remains full of melodious  narrative paintings with cheerful marching rhythms. The last part gives me again the idea that I'm listening to a long symphonic poem. It is perhaps a mix of Debussy and Delius, anyway, I liked it and while I was listening I just found the words that came to my mind, hearing this music for the first time, sure no wasted time .

80 minutes of Goossens the composer under Vernon Handley. As is often the case the works are not presented in the order one would deem optimal. We get the symphony placed first, the concerto second, the short scherzo third and the last item is another concertante piece (written for three other Goossens siblings). The 42 minute symphony is obviously the major offering here, an ambitious piece indeed, whereas the other items offer a lighter side of the composer. Musicweb reviewer Rob Barnett rightly talks of "lower voltage". If the producers are serious about it, they should make sure that a "portrait of " disc presents the works in the order that will yield the most favourable light on the composer.

It would seem Goossens, a renowned conductor, would have absorbed all kinds of influences. Traverso mentioned Delius and Debussy. I didn’t detect any of the latter, but the pastoral elements and flute arabeskes of the Andante espressivo do evoke delian "garden" music. Rob Barnett fires from all cylinders, with mentions of Bax, Bridge, Korngold, Zemlinsky, VW and Scriabine - all composers Goossens is likely to have conducted (he gave the UK premiere of Bax’ second symphony). I don’t know. That’s a bit too much, I think. In any case, it’s a good work from the late "turbulent late thirties [might] be loosely bracketed with the Hubert Clifford symphony, Stanley Bates 3rd and Arthur Benjamin’s symphony " (Barnett again:

I’m glad to have reacquainted myself with the Symphony after almost 10 years (for which I have to thank our Vandermolen  ;)). I will play the rest of the disc later this evening.
Great to see both (extant) recordings of this very epic symphony here, especially because I appreciate both of your comments! It was a third (first) recording that won me over, still my favourite, because of its sligthly higher voltage (but only released on vinyl): David Measham conducting the Adelaide SO:
Great Recordings and Reviews / Re: Bach on the piano
« Last post by Mandryka on Today at 11:10:25 PM »

He has an ingenious way of finding new melodic highlights, new shades of meaning and emotion.

This seems right, Don liked it and didn't like his first recording, I'm not so sure I agree, but possibly the first recording doesn't stress catchy melodies so much for you to hum along too, and the phrasing is less incisive  and the piano is less colourful. I'm thinking really about the second book rather than the first.  Every time I listen to his first recording my intuition -- which may be worthless -- tells me that there's something interesting going on there,  I'd have to put more work in to articulate it. It's something to do with lyricism maybe, and a more homogeneous approach to the voicing. Sometime I'll give both recordings the attention they may or may not repay.

Part of it may be a special sort of British puritan masochism -- the second recording is so fun and easy and accessible that I just don't trust it.
Why isn't Trump at the Aswan summit?
Great Recordings and Reviews / Re: Bach on the piano
« Last post by milk on Today at 10:45:09 PM »

I'm listening to this Schiff's WTC for the first time. I can't believe I'd totally ignored him before (and confused him with Periah too - another pianist I've somehow ignored). Is this his only recording of WTCI? This is magnificent. I mean, Schiff makes the music new again for me. He has an ingenious way of finding new melodic highlights, new shades of meaning and emotion. I don't know why I had totally ignored Schiff previously. I'm curious to go back and see how Schiff figured in those comparison reviews by Don Satz. 
Interesting. Thanks to both of you. I’ve been meaning to look up the Bull mentioned by DaveF but haven’t gotten around to it yet.
General Classical Music Discussion / Re: What are you listening to now?
« Last post by Que on Today at 10:28:30 PM »
That prompted me to listen to one of the more unexpected combinations in recorded music, Fiocco and Koopman. Almost as extraordinary as Forqueray and Koopman!

What with you and me  listening to Fiocco, and Harry and Poul listening to Chaumont, we really are going quite far  into French music today.

Your post prompted me take this from the shelves for a morning listening  :)

General Classical Music Discussion / Re: The Early Music Club (EMC)
« Last post by Mandryka on Today at 09:54:56 PM »
Here’s a link which will take you to recent discographies for Aquitaine polyphony, Eton Choirbook, Codex Chantilly, Codex Huelgas and Montpellier Codex.
Great Recordings and Reviews / Re: Chant
« Last post by Mandryka on Today at 09:41:27 PM »

This was Pérès’ first recording with Ensemble Organum. What interests me most is the restraint of the expression, the accuracy of the execution, the way the edition they use makes the polyphonic and heterophonic music sound harmonically non-tonal, and the sense of inferiority and rapt prayer. C12 polyphony in Aquitaine is something I’m interested in. I know of four recordings dedicated to it - this, two from Sequentia (Shining Light and Aquitania),  and one from an American ensemble called Heliotrope (The Fire and the Rose) which I have just ordered. If anyone knows any others please let me know.
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