What are you listening to now?

[SymphonicAddict]

If your description is to be believed, god preserve from ever having the misfortune of ever hearing these recordings!

I don't think it would be a misfortune.

[amw]

I don't disagree with you. Just that they don't appeal to me as much as some other things by Mozart. Maybe the problem is that the Italiano Quartet's approach to Mozart doesn't work for me.

They are definitely great works. For me, a bit of a closed book until I came upon the Leipzig Quartet & Smithson Quartet versions.

[Baron Scarpia]

They are definitely great works. For me, a bit of a closed book until I came upon the Leipzig Quartet & Smithson Quartet versions.

I have to go back to the Solomon and Hagen Quartet recordings to refresh the palette. I remember seeing the Smithson Quartet recordings for very cheap some time ago and inextricably passing on it.

[Daverz]

They are definitely great works. For me, a bit of a closed book until I came upon the Leipzig Quartet & Smithson Quartet versions.

One of my favorite Mozart quartet CDs, Nos. 18 & 19 by the Smetana Quartet on EMI:

[HIPster]

Gorecki: Kleines Requiem fur eine Polka [Zinman]....





There is a haunting beauty to this wonderful music and Zinman portrays it very well in this version. The tone and pace of the performance are excellent. The presentation is always lyrical, and when required, is robust and ebullient thus creating a very atmospheric, captivating and oftentimes dramatic performance.

Your descriptions of this release ate most enticing my friend. 

[HIPster]

So awesome to see you posting again, Drasko! 

Of course I am very interested in reading your thoughts on Maletto's Vespro. 

[Draško]

So awesome to see you posting again, Drasko! 

Of course I am very interested in reading your thoughts on Maletto's Vespro. 

Thank you!

It's one of the most beautiful performances I've heard, most likely the best sung. But it's also very, very, very, very slow. I think they manage to pull it off, through sheer beauty of singing but it probably won't be to all tastes. Also their choice of very little ornamentation might not gel with some. Not to go in too many detail I think Johan van Veen's review on musica-dei-donum is spot on:
http://www.musica-dei-donum.org/cd_reviews/PanClassics_PC10371_BC_95188_Alpha_705_Coro_COR16126_Glossa_GCD922807.html

[Todd]

From the DHM long box, Andreas Staier playing harpsichord and fortepiano.  Ample energy and clean articulation, with some dazzling fingerwork on the harpsichord, I could have done with a bit more wild and crazy playing (like Pletnev), but it's good for what it is and the instruments it's played on. 

[kyjo]

Earlier, Mahler 1:

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In a great performance such as this, Mahler 1 comes off as a work of more substance that some other performances make it out to be. Nézet-Séguin reminds me why this was one of the seminal works that first turned me on to classical music. The opening of the finale has never sounded more explosive and terrifying!


Just finished Antheil's Symphony no. 4 "1942":

[asin]B06XWMVFH8[/asin]

This often brash but not always unsubtle wartime work comes off very well in this spectacular new recording. Though the influence of Shostakovich is readily apparent in the more martial passages, Antheil's own lyrical gift shines through towards the middle of the second movement, where he introduces a lovely, swooning theme. Recommended for lovers of accessible 20th century symphonism.

[Alek Hidell]

Well, speaking of the old Commie:



First listen (to this recording). Very good, as its reputation suggested. Wanna listen again - perhaps tomorrow!

[Mirror Image]

Ma mère l'Oye:

[Mirror Image]

This new acquisition:



Absolutely enchanting so far. Dancing Divertimentian was correct about the sonics and performance --- both are truly exceptional.

[Daverz]

[asin]B01AJ0JKAQ[/asin]

In a great performance such as this, Mahler 1 comes off as a work of more substance that some other performances make it out to be. Nézet-Séguin reminds me why this was one of the seminal works that first turned me on to classical music. The opening of the finale has never sounded more explosive and terrifying!

I also found this to be an excellent Mahler 1.

[Daverz]

The third may have gone titz up.

(that's my final "contribution" to this discussion, except to say that I listened to one movement of one of the quartets and it was most charming. )

I haven't kept abreast of the Hoffmeister's Titz series, so I also missed the 3rd volume, but I agree with all the high praise of the first pair of Titz CDs.

[Ken B]

Benita Marcus
Adam & Eve

Quite a lovely piece, actually more like Partch than Feldman IMO, for those following the relevant thread.

[kyjo]

Atterberg's Horn Concerto:

[asin]B010U6BO6W[/asin]

A real delight! Not only is Atterberg's writing for the solo horn expertly done, but his orchestration (which consists of strings, piano, and percussion) is constantly ear-catching, especially the prominently glittering piano part in the magical slow movement.

[anothername]

[Que]

Thank you!



It's one of the most beautiful performances I've heard, most likely the best sung. But it's also very, very, very, very slow. I think they manage to pull it off, through sheer beauty of singing but it probably won't be to all tastes. Also their choice of very little ornamentation might not gel with some. Not to go in too many detail I think Johan van Veen's review on musica-dei-donum is spot on:
http://www.musica-dei-donum.org/cd_reviews/PanClassics_PC10371_BC_95188_Alpha_705_Coro_COR16126_Glossa_GCD922807.html

I was also very curious about your impressions ! 

I feel an authentic Italian(ate) approach works best.
Which applies to the Alessandrini I have (as if I heard the work the 1st time, and definitely the 1st it "clicked". And probably also to Garrido, who is a natural in Monteverdi...

And now there is this recording to consider.... I note your reservations and those by Johan van Veen.
From his horrible Dufay recordings  (tastes differ...  ), I know that Maletto takes whatever liberties he feels are right, which makes me cautious. On the other hand, Monteverdi is closer to home.

Time to give it a listen. 

Q

[Que]

Speaking of Alessandrini:

[asin]B000067FFR[/asin]
Continuation....

I might get rid of my Frescobaldi set by Lorregian (Brilliant). Which is a actually quite good...
But I guess not good enough, since I never listen to it....
It just doesn't draw me in as the few handpicked top performances, like this one, do.

Q

[RebLem]

On Tuesday, 13 FEB 2018, I listened to some music online and to 1 CD.


One of my FB friends, Jim Williams, posted in my  thread on Harry T Burleigh a whole long, sequential, 2 hour  long (at least) thread from YouTube on Burleigh.  It included lots of student recital pieces, many of which were very good, esp. one by one Ian Williams, who sang three Burleigh songs--Go Down, Moses, My Lord! What a Morning', and Every  Time I Feel the Spirit.   Listen to that one even if you don't listen to any of the others.  It also included two speeches by one of his biographers, Dr. Jean E Snyder, @ the Library of Congress which was over 66 minutes long, and well worth every second, and another shorter one of about 15 minutes at St George's Episcopal Church in Manhattan, where Burleigh had been a member of the choir for many years.  The church, which was all white  until Burleigh showed up, had some controversy about his appointment, but the choir director stood behind him and the church council decided by a one vote margin to approve his contract.  The last board member to vote, who settled the tie in Burleigh's favor, was the banker J. P. Morgan.  At any rate, Jim Williams has done us an inestimable service and I hope you will all take the time to listen to at least some of it.


Then, the one CD is listened to:


CD 3 of a 14 CD survey  of Leopold Stokowski's recordings for RCA, called "Leopold Stokowski: The Stereo Collection, 1954-1975."  This volume features Stokowski conducting Members of the NBC Symphony.  Tr.  1-7, Gian Carlo Menotti (1911-2007): Sebastian: ballet suite (23'23)  |Tr. 8-12, Prokofiev (1891-1953): Romeo & Juliet (selections) (28'21).  Rec. Manhattan Center, NYC, 28-30 SEP 1954 (Tr. 1-7), 5-7 OCT 1954 (Tr. 8-12).

AllMusic describes Sebastian as follows:
"Menotti composed this ballet score to his own libretto in 1944. The choreography of the original production was considered unsuccessful, but with restagings later it became a success. Sebastian is a Moorish slave, secretly in love with a courtesan. She, in her turn, shares love with the Prince of their Italian kingdom. The prince's sisters, desiring to end the affair, steal the courtesan's veil, which allows them to work black magic on her, which they can do with a life-sized wax figure covered with the veil; firing arrows into it will kill her. Sebastian learns of the plot, substitutes himself for the wax figure, and is shot with the arrows. The sacrifice breaks their spell over the courtesan, and she is reunited with her beloved. Menotti's music is ardent and romantic, sort of an Italian Prokofiev in style and sound. It is very listenable, a fine score of its type. There is a suite in seven movements drawn from the score."

For information on Prokofiev's Romeo & Juliet, see  https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Prokofiev)
This is some of the least dissonant and most soaringly romantic music Prokofiev ever wrote.