Gurn's Classical Corner

[DavidW]

Yeah, I have to scratch that itch on occasion every Sunday morning myself.

There fixed that for you.

[Gurn Blanston]

There fixed that for you.

  I was trying to be modest and not scare the man away. One doesn't really glimpse the depths of my fanaticism until we get to The Ninth.   



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Now playing:
Cleveland Orchestra/Dohnanyi - Op 125 Symphony #9 in d 4th mvmt - Presto - Allegro assai / Recitative - Allegro assai

[Leo K.]

Yeah, I have to scratch that itch on occasion myself. Right now I have 82 versions that I rotate on a fairly regular basis. Got Furt in there somewhere...



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Now playing:
Cleveland Orchestra/Dohnanyi - Op 125 Symphony #9 in d 4th mvmt - Presto - Allegro assai / Recitative - Allegro assai

Wow, that's quite the collection of the No.9! But since I have about the same number of Mahler 9 I can't say a thing! My poor fiancee and the music she has to put up with! 

[Gurn Blanston]

Wow, that's quite the collection of the No.9! But since I have about the same number of Mahler 9 I can't say a thing! My poor fiancee and the music she has to put up with! 

Well, one has to forgive people their enthusiasms. I knew about your Mahleria but I have casually ignored it. I figure if quinine doesn't help, then you just go with it...   Yes, my wife knows every word of Schiller's Ode, despite herself... 




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Now playing:
Cleveland Orchestra/Dohnanyi - Op 125 Symphony #9 in d 4th mvmt - Presto - Allegro assai / Recitative - Allegro assai

[DavidW]

Wow, that's quite the collection of the No.9! But since I have about the same number of Mahler 9 I can't say a thing! My poor fiancee and the music she has to put up with! 

I told Gurn that he was just like a Mahlerite with his lvb 9 obsession!

[Gurn Blanston]

I told Gurn that he was just like a Mahlerite with his lvb 9 obsession!

Yes, it was fair warning. It was the best I could do without actually listening to Mahler....

[Leo K.]

Yes, it was fair warning. It was the best I could do without actually listening to Mahler....

Ha ha! How about Mahler's "edition" (rather, re-orchestration) of the Beethoven 9? That is another way to listen to Mahler, without listening to him (but kinda listening to him)! 

[Gurn Blanston]

Ha ha! How about Mahler's "edition" (rather, re-orchestration) of the Beethoven 9? That is another way to listen to Mahler, without listening to him (but kinda listening to him)! 

Got it (on video, no less!). Detroit Symphony / Nëeme Jarvi. I put down my reaction to unfair prejudice on my part against the re-orchestrator. I'll have to work up the nerve to try it again sometime.



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Now playing:
André Raynaud - Adam, JL Op 6 #1 Sonata in Eb for Keyboard 1st mvmt - Allegro

[Leo K.]

Got it (on video, no less!). Detroit Symphony / Nëeme Jarvi. I put down my reaction to unfair prejudice on my part against the re-orchestrator. I'll have to work up the nerve to try it again sometime.



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Now playing:
André Raynaud - Adam, JL Op 6 #1 Sonata in Eb for Keyboard 1st mvmt - Allegro

Ha ha, yeah, to tell the truth I think Mahler should of left the score alone. As a historical artifact of late 19th century concert practice, it has some value I guess  I have to laugh at Mahler purists who poo-poo interventionist approaches to Mahler's scores, when Mahler himself had no qualms! (I won't go there though!) 

[Gurn Blanston]

Ha ha, yeah, to tell the truth I think Mahler should of left the score alone. As a historical artifact of late 19th century concert practice, it has some value I guess  I have to laugh at Mahler purists who poo-poo interventionist approaches to Mahler's scores, when Mahler himself had no qualms! (I won't go there though!) 

Yeah, I've seen discussions along those lines before, but always refrained from taking part because of my notorious temper. When I read things like "this is how Beethoven would have done it if he had his stuff together" I could just spit.   Ah well, Mahler was just carrying on a proud tradition. Anyone who was anyone had a go at reorchestrating Beethoven. Clearly he didn't know his ass from his elbow. Whence greatness?     



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Now playing:
André Raynaud - Dussek Op 5 #3 Sonata in Ab for Keyboard 1st mvmt - Allegro

[Leo K.]

OK, well speaking of turn of century France, fortepiano sonatas etc. (and no, I don't have Böely... yet), here is the disk that got ME started down that road:



Look at the composers, all first rate sonata writers. And Raynaud really plays well on a nice fortepiano. Just sayin...   0:)

Wow...this collection is amazing! What fantastic sound from the fortepiano too. I'm getting a good education on French classical now 

After hearing the Mehul on this disk, I listened to a collection of Mehul's 4 four symphonies (Nimbus label), and heard the first three and found them to be a revelation! Wow!

[Leo K.]

I am listening to this now...a mass setting from Francesco FEO (1667-1740). Wow...a great mood, what I only describe as "spiritually sparse" because of the five voices, organ, and thinned out orchestration. It really is wonderful. I am an agnostic, but a HUGE fan of 16-18th century sacred music!

I include a review of this CPO disk below 



Francesco FEO (1667-1740)

Missa [44:59]
Confitebor a 5 [12:52]

In the 1720s and 1730s Naples was gaining ground in Italian musical life. Even a celebrated composer like Vivaldi began to feel the effects of the growing popularity of the Neapolitan style. His operas became less popular in comparison to the more melodious and galant operas by composers from Naples. Today the best-known representative of the Neapolitan style is Giovanni Battista Pergolesi, whose Stabat mater is one of the most popular works of the entire 18th century and is probably as frequently performed as Bach's St Matthew Passion or Mozart's Requiem. But in his own days this work wasn't received with unanimous enthusiasm. Some considered his music far too operatic and frivolous for such serious subject matter. Today the Neapolitan style is still often associated with easiness and superficiality. Of all Neapolitan music Pergolesi's Stabat mater is almost the only piece to receive much attention, whereas most vocal works from Naples are largely ignored. This recording is very interesting as we get acquainted with a hardly-known composer whose religious music far outweighs his secular oeuvre.

Francisco Feo was born in Naples and also died there. He received his first musical education at the Conservatorio di S. Maria della Pietà dei Turchini, at the same time as the much better-known Leonardo Leo. Very quickly he started to make a name for himself as a composer of operas. He also contributed arias and scenes to operas by other composers. His first big success was his opera seria 'Siface' from 1723. This is also an important work for historical reasons: it was the first opera on a libretto by Pietro Metastasio who was to become the most famous librettist of the 18th century.

In the realm of religious music Feo composed music in all the then common genres, like oratorios, masses, vesper psalms, cantatas and lamentations. On this disc one of his masses is performed, unfortunately without any specification. It is written for 5 voices with choir and orchestra, but this doesn't help to identify it: Feo wrote five masses with the same scoring. The programme notes mention that this Mass, together with other compositions from Naples, found its way to the court in Dresden. This was the effect of the engagement of King Carlo III of Naples to Princess Maria Amalia of Saxonia in 1738, at which occasion music from both cities was exchanged.

Some Neapolitan music may be a bit simple and superficial, that is certainly not the case with this mass. The structure is a little odd: as common in Italy all attention goes to the Kyrie and the Gloria (together 33 minutes), whereas the Credo is rather short (9:30). The Sanctus and Agnus Dei (together less than 3 minutes) are little more than appendices which are limited to a declamation of the text without any repetition or elaboration. That is very different in the first two sections. Polyphony is rather rare in Neapolitan music, but Feo makes use of it several times: in the first Kyrie which is repeated after the Christe, and again at the end of the Gloria, on the text "Cum Sancto Spiritu". There is also some text expression: the verse 'Qui tollis' is set to descending figures, and the word "miserere" is followed by a general pause. In 'Qui sedes' the same word is set to dissonant chords. Dissonants also appear in 'Et incarnatus est' which is set homophonically. Dissonants, chromaticism and suspiratio figures are features of the 'Crucifixus' which is the most expressive part of this mass. Very eloquent is also the contrast between the tenor solo in the opening section of the Gloria on the words "et in terra" and the tutti on "pax".

In 'Confitebor tibi Domine' (Psalm 110/111) soli and tutti alternate with the latter used as ritornellos. Two parts of the text are singled out with musical means: "Sanctum et terribile nomen eius" (Holy and frightful is his name) en "Initium sapientiae timor Domini" (fear of the Lord is the beginning of wisdom).

In the programme notes Gerhard Poppe writes that "both works are ideally suited for ridding the heads of many people of many inherited prejudices about Neapolitan sacred music". The performance aptly supports this wish, even though one has to question whether Feo's sacred music is representative of what was written in Naples. But the soloists, choir and orchestra give fine performances and explore the quite rich texture of this music well. The vocal solo parts are not very virtuosic. Only in the 'Laudamus te' do we encounter coloraturas of any difficulty. The soloists are therefore rather modest in their performances. They could have been a little more extraverted and shown more presence. Obviously I don't know the score, but I would be surprised if the composer had asked for a staccato-like articulation as the singers produce in the opening section of the Gloria.

These niggling remarks don't spoil my great appreciation of this release which offers an interesting and worthwhile addition to the catalogue of Italian sacred music of the 18th century.

Johan van Veen

[Gurn Blanston]

Wow...this collection is amazing! What fantastic sound from the fortepiano too. I'm getting a good education on French classical now 

After hearing the Mehul on this disk, I listened to a collection of Mehul's 4 four symphonies (Nimbus label), and heard the first three and found them to be a revelation! Wow!

Yes, I had that disk at one time (can't put my hands on it right this minute  ) and really quite enjoyed it. Mehul was a leading light in French music, although he was mainly noted for his operas. I think Gabriel posted something about the operas in here somewhere (damn thread is getting unwieldy!).  I'm really enjoying this Dussek sonata in Ab right now. He was a star!



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Now playing:
André Raynaud - Dussek Op 5 #3 Sonata in Ab for Keyboard 1st mvmt - Allegro

[Leo K.]

Yes, I had that disk at one time (can't put my hands on it right this minute  ) and really quite enjoyed it. Mehul was a leading light in French music, although he was mainly noted for his operas. I think Gabriel posted something about the operas in here somewhere (damn thread is getting unwieldy!).  I'm really enjoying this Dussek sonata in Ab right now. He was a star!



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Now playing:
André Raynaud - Dussek Op 5 #3 Sonata in Ab for Keyboard 1st mvmt - Allegro

Dussek's sonatas are another revelation to my ears. I think hearing the Staier disk got me rolling on my recent sonata binge!

I just LOVE Dussek's Piano Sonata No.26, Op.70 'Le retour à Paris'  

[Leo K.]

Mehul was a leading light in French music, although he was mainly noted for his operas. I think Gabriel posted something about the operas in here somewhere (damn thread is getting unwieldy!).  I'm really enjoying this Dussek sonata in Ab right now. He was a star!

If I only had more time, I would try out a Mehul opera or two. Because of the length of Operas, I generally stick to the intrumental works, or Masses (for vocal music) of the composers I'm interested in. Yet, I bet I'm missing out on a lot! I am versed in Mozart's operas, and a smattering of others, such as Hasse and Cimerosa. But when it comes to opera, I'm pretty much only interested in the classical era operatic reportoire. I am becoming very interested in Opera Seria, because of Hasse's Cleofide, of which I've enjoyed hearing the excepts.

[Gurn Blanston]

If I only had more time, I would try out a Mehul opera or two. Because of the length of Operas, I generally stick to the intrumental works, or Masses (for vocal music) of the composers I'm interested in. Yet, I bet I'm missing out on a lot! I am versed in Mozart's operas, and a smattering of others, such as Hasse and Cimerosa. But when it comes to opera, I'm pretty much only interested in the classical era operatic reportoire. I am becoming very interested in Opera Seria, because of Hasse's Cleofide, of which I've enjoyed hearing the excepts.

Yes, opera does turn out to be very worthwhile. I now have all of Haydn's operas, and find them very enjoyable too. For whatever reason, his patron likes recitative to excess, and despite the fact that Haydn catered to that oddity, still his arias are outstanding. My favorite opera is still "Le Nozze di Figaro", but I have finally branched out from there, even beyond "Don Giovanni"! 



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Now playing:
André Raynaud - Dussek Op 5 #3 Sonata in Ab for Keyboard 2nd mvmt - Rondeau

[Leo K.]

Yes, opera does turn out to be very worthwhile. I now have all of Haydn's operas, and find them very enjoyable too. For whatever reason, his patron likes recitative to excess, and despite the fact that Haydn catered to that oddity, still his arias are outstanding. My favorite opera is still "Le Nozze di Figaro", but I have finally branched out from there, even beyond "Don Giovanni"! 



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Now playing:
André Raynaud - Dussek Op 5 #3 Sonata in Ab for Keyboard 2nd mvmt - Rondeau

Don Giovanni was my top Mozart opera for a long time, but now Le Nozze de Figaro has taken top place  It is my favorite opera period. Indeed, it taught me how to listen to opera. However, Don Giovanni was the first opera I felt that I "got" or understood, in terms of the special tension between words, drama, and music. I love the arias of the ladies in that one. BUT Le Nozze di Figaro, especially at the beginning of Act II, with the introduction of the Countess, is one of the most ecstatic spectacles I've ever heard in music, indeed, Mozart changed my life!

[Leo K.]

A couple years ago I aquired some Haydn operas on LP for a raining day on vacation. I'm really looking forward to listening to Haydn's operas someday  It's been a long time since I could take a vacation though! 

[Leo K.]

This is a quiet day at work, and so I've been able to listen to some things I put aside special that I've been interested to hear, outside of my usual interests, and I'm discovering some new favorites. Such as this recording, performing Attilio Ariosti's sonatas with the Viola A'mour, an instrument of which I've read about on this thread, many moons ago:



Oh my...this is incredible stuff. 

[Gurn Blanston]

Don Giovanni was my top Mozart opera for a long time, but now Le Nozze de Figaro has taken top place  It is my favorite opera period. Indeed, it taught me how to listen to opera. However, Don Giovanni was the first opera I felt that I "got" or understood, in terms of the special tension between words, drama, and music. I love the arias of the ladies in that one. BUT Le Nozze di Figaro, especially at the beginning of Act II, with the introduction of the Countess, is one of the most ecstatic spectacles I've ever heard in music, indeed, Mozart changed my life!

Well, oddly or not, my favorite part of Figaro is the first act.  The drama unfolds, there is comedy and drama, and the music is spectacular! Not that the rest isn't great too, but...



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Now playing:
Academy of Ancient Music \ Hogwood  Brown  (Natural Horn) - Hob 07d 03 Concerto #1 in D for Horn 3rd mvmt - Allegro