Gurn's Classical Corner

[Leo K.]

I can recommend unreservedly his trio and quintet. I have the CPO recording. There is a similar one on MDG.

Thanks for the recommend!  I will definitely check this out.

[Leo K.]

Currently, I own the 3 discs posted on Eybler and support the recommendations - are any other discs of interest?

Mozart & Brahms - Clarinet Quintets w/ Jean-Claude Veilhan & Quintette Stadler; the latter on period instruments - especially enjoy the Mozart work w/ a basset clarinet - have several other versions but these on the instruments meant for the original composition w/ Stadler on the clarinet of his times always impresses me - budget purchase from BRO - need to look into more of Veilhan's works on this label - 

I just realized I havent yet heard the Brahms Clarinet Quintet on period instruments...I will have to check this recording out soon.

[Leo K.]

I have also been enjoying the Masses, Requiems, Opera (Cleofide) and Flute Concerti of J.A. Hasse.

The symphonies of Franz Danzi.

and Fortepiano Concerti from Antonio Rosetti, Ernst Wilhelm Wolf and Johann Naumann from this disk:




More and more, I find that my heart is in the 18th Century

[Gurn Blanston]

I have also been enjoying the Masses, Requiems, Opera (Cleofide) and Flute Concerti of J.A. Hasse.

The symphonies of Franz Danzi.

and Fortepiano Concerti from Antonio Rosetti, Ernst Wilhelm Wolf and Johann Naumann from this disk:




More and more, I find that my heart is in the 18th Century

Oh, that looks like a nice disk, there, Leo. I have Rosetti's concerto, also played by Schornsheim, but as part of a disk with some of his concerti for other instruments. Since I haven't heard anything by Wolf of Naumann I'll have to hunt that up. Thanks!

[Gurn Blanston]

This is the one I have, also a nice disk:



Amazon only have it as MP3 downloads now.

[Leo K.]

This is the one I have, also a nice disk:



Amazon only have it as MP3 downloads now.

I think I saw this on iTunes. I will definitely download this soon, thanks for the recommend.

And I'm sure you will enjoy the Wolf and Naumann 

[Leo K.]

I have been trying to explain my passion for the 18th Century, and obscure composers from that era, to my loving girlfriend, and it's difficult to really convey what I like about it. My passion started when I saw Amadeus in the mid-eighties, and something clicked. I love the 19th Century too, and research that era as much, but there is something about the 18th Century that my heart is really drawn too.

[Florestan]

I have been trying to explain my passion for the 18th Century, and obscure composers from that era, to my loving girlfriend, and it's difficult to really convey what I like about it. My passion started when I saw Amadeus in the mid-eighties, and something clicked. I love the 19th Century too, and research that era as much, but there is something about the 18th Century that my heart is really drawn too.

Are you talking about 18th Century music only, or in general?

[SonicMan46]

Below is part of a post placed in the listening thread that might receive more attention here - not all of the Mozart Violin Sonatas, but the ones in the middle from the late 1770s; period instruments described below - well recorded on an excellent label.  MusicWeb Review HERE - highly recommended w/ one minor complaint about the piano being too much in the background - now listening to these discs a second time and cannot agree; both instruments are wonderfully integrated.  For those who want some of these works on PIs and order from BRO (Berkshire Record Outlet), then still available there for $16 (HERE) - 

Mozart, WA - Violin Sonatas (K.301-6; K.359-60 on 2 discs w/ Laura Alvini on an Anton Walter fortepiano, Vienna ca. 1785 & Enrico Gatti on a Storioni violin, Cremona 1789 - these are the 'middle' sonatas, most composed in the late 1770s - inexpensive purchase from BRO if interested in PI performances - could not find much in the way of reviews but enjoy this label.

 

[Gurn Blanston]

Since we're loving on the Classical Era lately, I'll bring in a disk that has a very nice cross-section of the early Classical, so you can see some antecedents:



There are sinfonias/symphonies by WF Bach, CPE Bach (2 that are listed as Wq deest, so not ones you normally find), Graun, Hasse, #39 in g by Haydn, and #29 in A by Mozart. Nicely played on period instruments by this group that i am coming to like more and more.



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Now playing:
Czech Chamber Philharmonic \ Spurny - Myslivecek Sinfonia #3 in C 3rd mvmt - Presto

[Leo K.]

Are you talking about 18th Century music only, or in general?

I would say in general, with a focus on the pre-classical, and classical era music of that time. Also, I'm interested in the ideas perculating in this era, such as the philosophy of Immanuel Kant, although I haven't dived into that study full on yet. 

[Gurn Blanston]

I would say in general, with a focus on the pre-classical, and classical era music of that time. Also, I'm interested in the ideas percolating in this era, such as the philosophy of Immanuel Kant, although I haven't dived into that study full on yet. 

For me, life is way too short to actually read and understand Kant, however, I am always interested in the short discussions of extracts of his when I run across them. The philosophy that was blooming in that time period was indeed fascinating. And the art and music is all of a piece with it. Right now I am reading "The Classical Era" ed. by Neal Zaslaw, which is a series of essays, each one centered around a different city (Paris, Vienna, Mannheim, Naples, Prague (so far)). I highly recommend this book to you in particular, Leo, since you seem to have interests that are quite similar to my own. I think you will like it.

Now, for some music. Anyone run across this series yet?:



I have the first 4 disks, although now I understand that there is also a 5th one. The playing by Czech Chamber Philharmonic \ Spurny is very fine, as you would expect they seem to have a solid connection to the music from their homeland. The composers are numerous, all Bohemians, of course, and the music is either a sinfonia or a concerto ranging in time from <>1760 to <>1780. I like 'em! 




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Now playing:
Philharmonia Orchestra / Mackerras - Dvorak Op 070 Symphony #7 in d 1st mvmt - Allegro maestoso

[Leo K.]

For me, life is way too short to actually read and understand Kant, however, I am always interested in the short discussions of extracts of his when I run across them. The philosophy that was blooming in that time period was indeed fascinating. And the art and music is all of a piece with it. Right now I am reading "The Classical Era" ed. by Neal Zaslaw, which is a series of essays, each one centered around a different city (Paris, Vienna, Mannheim, Naples, Prague (so far)). I highly recommend this book to you in particular, Leo, since you seem to have interests that are quite similar to my own. I think you will like it.

Thanks Gurn for that recommend, I'm placing it in my Amazon cart right now 

Yeah, Kant's works are quite expansive to read in full, especially the ones I'd like to dive into, like Critique of Reason, but the excerpts are indeed fascinating. The ideas, philosophy, politics, art and religion from this era are all very interesting. There is so much to explore, but I narrow down my interest into at least music, religion, and philosophy, so I can grasp at something I also like the "reasonable enthusiasism" of theologan John Wesley from England.

Back to music, I'm currently reading a fascinating article by Dorothea Link called, "Vienna's Theatrical and Musical Life, 1783-92, as reported by Count Karl Zinzendorf," from the Journal of the Royal Musicial Association, Vol.122, No.2 (1997).

Here is an excerpt:

How representative of Viennese social life are the private entertainments
that Zinzendorf reports? As a highly placed government official
- he was the head of the audit department - and coming from an
old, if impoverished, noble family, Zinzendorf had entree to the best
houses in society. We know that he expected to be invited to all the major
social events, for he also notes those for which he was overlooked. Beyond
that, the entertainments he attended reflect his preference for theatre
over music, particularly instrumental music. He was a keen devotee of
both spoken theatre and opera, having acquired an extensive knowledge
of the contemporary European repertory during his years of work and
travel abroad." But concerts usually drew him more for their social than
for their musical interest. He himself played no instrument, and he was
fully aware of the limits of his musical competence. While he confidently
judges the performances of singers, on purely musical matters he invariably
records his companions' opinions. To the disappointment of
the music historian, Zinzendorf did not take much interest in the great
musical events of his day. He declined to attend Idomeneo. His well-known
inattentiveness at the premiere of Le nozze di Figaro, though it can be excused
by the distraction of his passion for the woman in his box, is unfortunately
symptomatic. The one time he reports hearing Mozart, on
10 February 1788 at the Venetian ambassador's, he says nothing at all
about either the man or his playing. For all that, though, Zinzendorf's
reporting is factually accurate and consistent over half a century, and
thus constitutes an invaluable source of information about musical events
in the context of the time.

Great stuff  I uploaded the full article on my Google Docs page:

https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B0yHwF9VPRfZZGJjMGUwODctNDRmYi00YmJmLWJkOTktMGYxZjhjNzEzMjY1&hl=en&authkey=COvahd4F

[Gurn Blanston]

Thanks Gurn for that recommend, I'm placing it in my Amazon cart right now +

Yeah, Kant's works are quite expansive to read in full, especially the ones I'd like to dive into, like Critique of Reason, but the excerpts are indeed fascinating. The ideas, philosophy, politics, art and religion from this era are all very interesting. There is so much to explore, but I narrow down my interest into at least music, religion, and philosophy, so I can grasp at something I also like the "reasonable enthusiasism" of theologan John Wesley from England.

If I was a professional philosopher (rather than an idle ponderer of the meaning of life) I would certainly give Kant the nod over his contemporaries if for no other reason than the massive influence he had on the main characters of the time, either directly or indirectly. Still, it wouldn't take many copies of his books to anchor your house against an ill-wind...

Back to music, I'm currently reading a fascinating article by Dorothea Link called, "Vienna's Theatrical and Musical Life, 1783-92, as reported by Count Karl Zinzendorf," from the Journal of the Royal Musicial Association, Vol.122, No.2 (1997).

.... {snip}...

Yes, I have read his reports with interest over the years, wondering whether he was merely putting on the seeming indifference to the music. I understand it was stylish to be blasé about such things. It would have been a fascinating adventure for a modern-day music lover to have spent some time in his shoes though!  I'm sure Ms. Link would agree.




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Now playing:
Staatskapelle Dresden / Blomstedt - Op 125 Symphony #9 in d 3rd mvmt - Adagio molto e cantabile

[Florestan]

I would say in general, with a focus on the pre-classical, and classical era music of that time. Also, I'm interested in the ideas perculating in this era, such as the philosophy of Immanuel Kant, although I haven't dived into that study full on yet. 

Leo, [...] you seem to have interests that are quite similar to my own.

Count me in, gentlemen --- although given that the Industrial Revolution was a child of the Enlightenment I don't have much use for their philosophy, Kant included. 

[DavidRoss]

Count me in, gentlemen --- although given that the Industrial Revolution was a child of the Enlightenment I don't have much use for their philosophy, Kant included. 

Luddites unite!

[Florestan]

Luddites unite!

Believe me or not, I'm not a Luddite.  0:)

The sin is not that engines are mechanical, but that men are mechanical. - G. K. Chesterton 

[DavidRoss]

Believe me or not, I'm not a Luddite.  0:)

The sin is not that engines are mechanical, but that men are mechanical. - G. K. Chesterton 

Darn!  I am, more-or-less.  But enough of this digression.   

[Gurn Blanston]

I am conflicted when it comes to emulating Mr. Ludd. Deep down I have this feeling that every time that we gain something (through some technological or other breakthrough) that we lose something else. And sometimes the something else is a cost out of all proportion with gains made. Sometimes not, of course. But one never knows in advance, due to the Law of Unintended Consequences. But it is not reasonable to reject what you have now in favor of pining over something that you may never have had in your own time. Wishing is something we do, however, without regard to the difficulties of time travel or the exigencies of life that balanced out the upsides. Here is one I have often heard people pine over:

The Fifth Symphony was premiered on December 22, 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself.[4] The concert went for more than four hours. The two symphonies appeared on the program in reverse order: the Sixth was played first, and the Fifth appeared in the second half.[5] The program was as follows:

   1. The Sixth Symphony
   2. Aria: "Ah, perfido", Op. 65
   3. The Gloria movement of the Mass in C major
   4. The Fourth Piano Concerto (played by Beethoven himself)
   5. (Intermission)
   6. The Fifth Symphony
   7. The Sanctus and Benedictus movements of the C major Mass
   8. A solo piano improvisation played by Beethoven (believed to be the Fantasia Op. 77)
   9. The Choral Fantasy

Makes you want to be there, eh? Despite that there was no heat in the Theater an der Wien and it was probably in the 40's inside. And the people there had a life expectancy of 40 years. And Napoleon would rape Vienna within 5 months. And if you got scratched by the wrong thing, you were certain to die. And, and, and....

It is a tough choice when we look back, not to wish in some way that we could partake.  All we see are the very good things and the very bad things, but we rarely get the context, the nitty-gritty as it were. It would have been cool to spend a couple years with Schubert, if I could have avoided getting syphilis from the same whore who gave it to him...

[Scarpia]

I am conflicted when it comes to emulating Mr. Ludd. Deep down I have this feeling that every time that we gain something (through some technological or other breakthrough) that we lose something else. And sometimes the something else is a cost out of all proportion with gains made. Sometimes not, of course. But one never knows in advance, due to the Law of Unintended Consequences. But it is not reasonable to reject what you have now in favor of pining over something that you may never have had in your own time. Wishing is something we do, however, without regard to the difficulties of time travel or the exigencies of life that balanced out the upsides. Here is one I have often heard people pine over:

The Fifth Symphony was premiered on December 22, 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself.[4] The concert went for more than four hours. The two symphonies appeared on the program in reverse order: the Sixth was played first, and the Fifth appeared in the second half.[5] The program was as follows:

   1. The Sixth Symphony
   2. Aria: "Ah, perfido", Op. 65
   3. The Gloria movement of the Mass in C major
   4. The Fourth Piano Concerto (played by Beethoven himself)
   5. (Intermission)
   6. The Fifth Symphony
   7. The Sanctus and Benedictus movements of the C major Mass
   8. A solo piano improvisation played by Beethoven (believed to be the Fantasia Op. 77)
   9. The Choral Fantasy

Makes you want to be there, eh?

In those days performances of a new piece of music were often interrupted due to the orchestra being unable to play the music through.  Nowadays an orchestra gets ripped in the papers if some horn entry or another was not done exactly to the reviewers preference.  Given the choice of one or the other, I'll take Karajan.