Past Purchases (CLOSED)

[Karl Henning]

How does this recording fare compared to the Schornsheim traversal of these works?

That's a question for others — partly because this box hasn't landed yet, and partly because it will be only the first that I hear practically any of Haydn's piano solo music : )

[jlaurson]

I have heard a few of his performances on television, so psychology has nothing to do with it. And note it is my opinion, werther you like that or not.
And you may think that based on what you do, you are the only one allowed to make insight remarks, but that is a delusion on your side.  No need to be at the beginning of the year caustic towards me, something you apparently cannot do without.

Yes, yes... As per 'psychological' objections (rather than purely musical), it's just that "for me he is poison in every way. I cannot stand the fellow" suggests that there's more at play than merely his choice of tempi and the way he takes transitions in Beethoven. It's not like you would be alone in that; there are lots of people who "cannot stand the fellow" for reasons that go beyond music.

Different, individualistic, idiosyncratic, mannered, even perverse...those are adjectives that describe a favorite kind of music making. I love performers and conductors who find new ways to present the old warhorses. Maazel, late Klemperer, Norrington, Marthé, Eschenbach, Celibidache, Glenn Gould, Pogorelich, Lenny. I don't know if I'll invest in Thielemann's Beethoven cycle (Järvi, Vänskä, Norrington, Chailly all beckon, all are tempting too) but I enjoy his 5 & 7 with the Philharmonia so I don't think I'd have any trouble with the Vienna performances.

Sarge

Probably the three most remarkable aspects about Thielemann are: His great focus on timbre and sound (incl. true pianissimo), the way *some, certain* orchestras play for him (notably the WPh, which gives 100% with him, as opposed to their usual 80% to 90%), and his intuition for - and ability to negotiate - transitions in ways that never call attention to themselves (allowing him to switch tempi more often and more vigorously, without inducing motion-sickness... and skipping comparatively lightly over the 'longer quarter hours' in Wagner in the process).
Give him repertoire he loves (German romantics, (select) French, and (even more select) late post-romantic 20th Century works, and he produces music that is like nothing else sounds like these days (individuality) at a phenomenally high level of music-making (quality). He might not be my favorite conductor (although the Dresden connection is supremely promising), but along with the re-born Chailly and perhaps P.Jaervi he is the conductor who consistently provides the most interesting, stimulating concert-performances among those I regularly hear or have heard live.
And when one gets to know (more about) him, which admittedly could go either way, it turns out he isn't a prime-grade A-hole that he has a way of coming across to people of sensibility.

[Karl Henning]

Must have landed Friday after I had gone off to begin making merry:

[asin]B004MSRDLU[/asin]

[Marc]

I have much respect for the fact that you can stomach Thielemann, for me he is poison in every way.
[....]

And when you get that feeling
You need Thielemann healing.
Thielemann healing oh Harry
Is good for you.
Making you feel so fine
Helps to relieve your mind.



Chatting 'bout Strauss with Sarah Willis, Thomas Hampson and Renée Fleming.

http://www.digitalconcerthall.com/en/concert/1641-5

And performing some Arabella, with superb delicate orchestral Begleitung:

http://www.youtube.com/v/QU9wf0qGddk

[Sergeant Rock]

I've heard it already, and its quite a remarkable journey. Complex music with a message.

In the basket at JPC it goes 

I have much respect for the fact that you can stomach Thielemann, for me he is poison in every way. I cannot stand the fellow, and his mannerisms.
The Beethoven cycle is the worst one I ever heard in my life.

Yeah, I have an iron gut 

Different, individualistic, idiosyncratic, mannered, even perverse...those are adjectives that describe a favorite kind of music making. I love performers and conductors who find new ways to present the old warhorses. Maazel, late Klemperer, Norrington, Marthé, Eschenbach, Celibidache, Glenn Gould, Pogorelich, Lenny. I don't know if I'll invest in Thielemann's Beethoven cycle (Järvi, Vänskä, Norrington, Chailly all beckon, all are tempting too) but I enjoy his 5 & 7 with the Philharmonia so I don't think I'd have any trouble with the Vienna performances.

Sarge

[KeithW]

Just bought as FLACs from Hyperion

[asin]B006FNN8LY[/asin]
Britten: Violin Concerto & Double Concerto
BBC Scottish Symphony Orchestra, Ilan Volkov (conductor)


Music for viola & piano
Lawrence Power (viola), Simon Crawford-Phillips (piano)

and just arrived in the mail

[asin]B001MUJSXW[/asin]

[Karl Henning]

Music for viola & piano
Lawrence Power (viola), Simon Crawford-Phillips (piano)

Apart from the Op.147 Sonata, I don't know of any Shostakovich works for viola and piano . . . what else is on the disc? Arrangements? . . .

[Opus106]

Apart from the Op.147 Sonata, I don't know of any Shostakovich works for viola and piano . . . what else is on the disc? Arrangements? . . .

http://www.hyperion-records.co.uk/al.asp?al=CDA67865

[KeithW]

Apart from the Op.147 Sonata, I don't know of any Shostakovich works for viola and piano . . . what else is on the disc? Arrangements? . . .

Yes - seven of the 24 preludes and five pieces from The Gadfly.  Full list and booklet notes are at http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67865&vw=dc

[Karl Henning]

Thanks, Nav, you're a sport!

And thanks, Keith.

[Sergeant Rock]

Probably the three most remarkable aspects about Thielemann are: His great focus on timbre and sound (incl. true pianissimo), the way *some, certain* orchestras play for him (notably the WPh, which gives 100% with him, as opposed to their usual 80% to 90%), and his intuition for - and ability to negotiate - transitions in ways that never call attention to themselves (allowing him to switch tempi more often and more vigorously, without inducing motion-sickness... and skipping comparatively lightly over the 'longer quarter hours' in Wagner in the process).
Give him repertoire he loves (German romantics, (select) French, and (even more select) late post-romantic 20th Century works, and he produces music that is like nothing else sounds like these days (individuality) at a phenomenally high level of music-making (quality).

Good points, Jens. I don't think Thielemann is "mannered" either. I didn't include him in my list for that reason. What Harry hears as mannered Beethoven, I just hear as "old-fashionedly romantic" --Thielemann the anti-HIP, not so different than Barenboim.

Sarge

[Papy Oli]

Couple of used purchases...

I already have Sudbin, Tipo and Horowitz in some sonatas... just wanted to hear how it sounds with Scott Ross following the numerous recommendations on his version :

[asin]B000005E6V[/asin]

Quoting myself but good lord, that CD is too good !!! Couldn't resist and ordered the boxset for top-up this evening itself.... £67 on Amazon UK, early birthday treat 

[asin]B0009MWAVQ[/asin]

[Karl Henning]

Quoting myself but good lord, that CD is too good !!! Couldn't resist and ordered the boxset for top-up this evening itself.... £67 on Amazon UK, early birthday treat 

[asin]B0009MWAVQ[/asin]

Good on you! Mine just landed to-day.

[stingo]

Interesting - I'm listening to the Belder traversal of the Scarlatti sonatas and like it a lot. I wonder how they compare to the Ross set. Anyone know?

[Mirror Image]

More Shostakovich for the pile:





I don't care what anybody says. Dmitri Shostakovich was one of the greatest Russian composers that ever lived. His music is still being recognized for a reason: it's powerful, it's emotionally moving, it's haunting, it's compelling, and it's a reminder of how someone, even under the harshest circumstances, can express their heart through music.

[Conor71]

A couple of arrivals today :

[jlaurson]

I don't care what anybody says. Dmitri Shostakovich was one of the greatest Russian composers that ever lived. His music is still being recognized for a reason: it's powerful, it's emotionally moving, it's haunting, it's compelling, and it's a reminder of how someone, even under the harshest circumstances, can express their heart through music.

Has anyone ever given you cause to be defensive about DSCH?

[Florestan]

Has anyone ever given you cause to be defensive about DSCH?

http://www.good-music-guide.com/community/index.php/topic,18390.0.html

[jlaurson]

http://www.good-music-guide.com/community/index.php/topic,18390.0.html

One wonders how that thread ever made it to eight pages.

[Sergeant Rock]

Here's a good example of CDCDCD: my 12th Alpensinfonie and ninth Ninth:




Sarge