What are you listening to now?

Started by Dungeon Master, February 15, 2013, 09:13:11 PM

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Karl Henning

Quote from: SymphonicAddict on August 20, 2019, 04:41:58 PM


A most interesting film score. Having listened to his Hamlet Op. 32 the other day, this version for film is even deeper and psychological. I'm realizing Shostakovich wrote many more stunning orchestral works besides the most usual ones. It's certainly refreshing, and he still remains as one of my top 10 favorite composers ever.

Brilliant. And, you owe it to yourself to see the Kozintsev film.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Quote from: The new erato on August 20, 2019, 11:57:04 PM
The only thing I play relatively regularly is Le Nuits d'Ete. Sublime.

That it is!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Quote from: Andy D. on August 21, 2019, 12:33:45 AM
I was delighted this morning to hear composer Langgaard for the first time; thoroughly enjoyed his Romantic first symphony (Dausgaard).

Really looking forward to investigating this composer more thoroughly.

I've also had fun catching up wiiiiiiiiith...SCRIABIN!

Excellent!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

#140704
Quote from: jwinter on August 22, 2019, 11:53:07 AM
Having a Sibelian afternoon...

Symphonies 1 & 2, Blomstedt


Violin Concerto, Hahn


Finlandia, Karelia Suite, Ashkenazy


Love the Blomstedt/SFSO set!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

TD:
LvB
Triple Concerto, Op.56
Rondo in B-flat, WoO6

Aimard
Zehetmair
Hagen
C.O.E.
Harnoncourt
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

ChopinBroccoli

Quote from: "Harry" on August 23, 2019, 02:14:41 PM
Its not like or dislike, the statements of the sound or the quality of the orchestras are not valid.

He's not exactly criticizing the Vienna Philharmonic... The SRSO is a solid, mid-level orchestra but I've heard some occasionally dodgy ensemble playing from them ... I don't know the recording being argued about, mind you ... I just find your rigid insistence and anger a bit curious
"If it ain't Baroque, don't fix it!"
- Handel

ChopinBroccoli

Quote from: k a rl h e nn i ng on August 23, 2019, 02:19:58 PM
Personally, I shouldn't expect Harold en Italie to hold up for 100 hearings 8)

;D

I can't even pinpoint what I don't like about Berlioz, honestly... but I can't find anything that I really do like, either for whatever reason
"If it ain't Baroque, don't fix it!"
- Handel

Kontrapunctus

Exuberant playing and very good, if a bit distant, sound.




JBS

Quote from: k a rl h e nn i ng on August 23, 2019, 02:23:30 PM
Thoughts?

[Re WAM Symphonies 1-5]

Wolfgang was a good student. Were WAM's name not attached to them they would undoubtedly have disappeared into the archepiscopal archives, remaining forever unknown. And if they were to disappear, frankly, it would be no great loss. They make good background music.

Hollywood Beach Broadwalk

Karl Henning

Quote from: JBS on August 23, 2019, 03:35:39 PM
[Re WAM Symphonies 1-5]

Wolfgang was a good student. Were WAM's name not attached to them they would undoubtedly have disappeared into the archepiscopal archives, remaining forever unknown. And if they were to disappear, frankly, it would be no great loss. They make good background music.

Agreed.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

André



Entirely tonal and 'easy' works by Tamberg. Joanna tentata (1971) is a suite in 8 movements culled by the composer from his ballet based on the Devils of Loudun affair. It is based on the polish novel by Iwaszkiewicz, not on the Aldous Huxley story, which in turn would become the basis for Penderecki's opera and Ken Russell's flamboyant film. This is a much more reflective, intimate take on the possessed nuns' story. Iwaszkiewicz' novel was also adapted for the screen by Jerzy Kawalerowicz in 1961, some 10 years before the Tamberg ballet. I saw it many years ago. A psychological drama influenced by Dreyer. Beautiful. Back to the music: it would be nice to have the whole thing on DVD. The suite offers some nice musical scene painting, but continuity suffers.

The Concerto grosso is great fun. Scored for wind quintet (incl. an alto saxophone), piano, percussion and strings, its premiere in 1956 earned the composer his first big accolade, including an important festival's gold medal. The saxophone, a 'decadent' instrument, had been banned by cultural authorities in 1949. Tamberg's daring paid off, inspiring him to compose a really bold and original score. His next composition would feature three saxophones! The concerto grosso title was not his original idea. He simply composed a work that played to the strengths of the commissioning ensemble and found out such a work was close to the concerto grosso form. Bloch and Schnittke also composed works in that vein. Chronologically, Tamberg's work comes between these two composers'.

The Symphonic Dances are not quite as fetching. An agreeable pastime nonetheless. Overall this is a nice disc, but totally different from that containing the first two symphonies and the violin concerto. It's a bit like going from Shostakovich's 8th symphony to his 9th, or from Prokofiev's 3rd to his 7th. More power to him for using such diverse outlets to his creativity.

André



Symphony no 9 just finished. In the last week I listened to nos 2, 4, 7, 8 and now 9.

Again a mixed batch, but overall a highly successful one. I thought the 7th too heavy-handed (the first movement is almost a minute and a half longer than Böhm's WP, and Böhm is not exactly a speed merchant). The 8th is fine, the 4th very much so, while the 2nd is a smashing success, one of the very finest I've ever heard. It's not zippy, but bold to the point of effrontery, with mean timpani, sharp accents and a weighty but trenchant sound. Would that the 7th had been given that treatment.

In the 9th Blomstedt again puts the timpani in charge of underlining the rythmic thrust with big, sharp attacks, even as the tempi are not exactly swift. This is a big, brawny reading. The finale erupts mightlily. Theo Adam's solo is startlingly stentorian. What an outburst ! This is a mean Wotan sending his walkyries daughters galloping on their horsies. Tenor Peter Schreier sounds puny in comparison, but he invests his words with meaning and sings well. How many times did he do the 9th symphony ? 10 times ? Blomstedt beats the movement black and blue. To be honest it's not my ideal for a perfect 9th, but it certainly is an imposing, triumphant one. The sound is superb - the balance between chorus and orchestra couldn't be bettered. Their Gotterfunkens at the end are not drowned under the orchestra. Well done.

SimonNZ


jwinter

Quote from: André on August 23, 2019, 05:42:17 PM


Symphony no 9 just finished. In the last week I listened to nos 2, 4, 7, 8 and now 9.

Again a mixed batch, but overall a highly successful one. I thought the 7th too heavy-handed (the first movement is almost a minute and a half longer than Böhm's WP, and Böhm is not exactly a speed merchant). The 8th is fine, the 4th very much so, while the 2nd is a smashing success, one of the very finest I've ever heard. It's not zippy, but bold to the point of effrontery, with mean timpani, sharp accents and a weighty but trenchant sound. Would that the 7th had been given that treatment.

In the 9th Blomstedt again puts the timpani in charge of underlining the rythmic thrust with big, sharp attacks, even as the tempi are not exactly swift. This is a big, brawny reading. The finale erupts mightlily. Theo Adam's solo is startlingly stentorian. What an outburst ! This is a mean Wotan sending his walkyries daughters galloping on their horsies. Tenor Peter Schreier sounds puny in comparison, but he invests his words with meaning and sings well. How many times did he do the 9th symphony ? 10 times ? Blomstedt beats the movement black and blue. To be honest it's not my ideal for a perfect 9th, but it certainly is an imposing, triumphant one. The sound is superb - the balance between chorus and orchestra couldn't be bettered. Their Gotterfunkens at the end are not drowned under the orchestra. Well done.

Thanks for this overview... I've had this set for years, but haven't listened to it in ages.  Time for a revisit, I think.  :)
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems, and spoils.
The motions of his spirit are dull as night,
And his affections dark as Erebus.
Let no such man be trusted.

-- William Shakespeare, The Merchant of Venice

SimonNZ


Mookalafalas

Quote from: Toccata&Fugue on August 23, 2019, 09:44:00 AM
Does he play the incomplete final fugue? He doesn't seem to based on the track list.

There is a "14"--but it is played as a duet with two keyboards, so presumably is not the unfinished 14th.

TD
[asin]B00B5UBFRQ[/asin]
   Hope this disk shapes up. First impression is Vivaldi-ultralight. 
It's all good...

HIPster

Quote from: SimonNZ on August 23, 2019, 05:43:42 PM


How is this recording, SimonNZ?  On my wishlist. . .

Now playing:

[asin]B07BF24841[/asin]

The prologue is a unique feature of early baroque opera: an opening scene where an allegorical figure enters the stage to prepare the audience for the musical drama to come. Thus Prologue is the musical introduction of Italian star soprano Francesca Aspromonte and her exclusive, long term engagement with Pentatone, promising great joy as well as drama in the years to come. Prologue is a highly original album consisting of several prologues from early-baroque operas by Monteverdi, Caccini, Cavalli, Landi, Rossi, Cesti, Stradella and Scarlatti. Strung together, they form a representation in a single act, a theatre full of small, complete dramas: the opera before the opera. Francesca Aspromonte is quickly establishing herself as a shining star in the Baroque firmament. She has curated this album together with musical director Enrico Onofri, who leads il pomo doro, one of the most important and successful period ensembles of today.


Fantastic recording!  Very well recorded.  :)
Wise words from Que:

Never waste a good reason for a purchase....  ;)

Mandryka

Quote from: Traverso on August 23, 2019, 12:33:44 PM
Yes it is really sad  to see that he is somewhat lost,it's sound a bit harsh to say, he is still is eccentric but it has lost it's magic  .

Quote from: Toccata&Fugue on August 23, 2019, 09:42:35 AM
Well, this new release is colossally disappointing but not surprising given the alarming deterioration of his playing and interpretations over the past 20 years or so. Ugly banging and slow tempos, not to mention sub-par sound from Sony.


I've not heard the Rachmaninov but I thought the Beethoven op 54 was well worth a listen.
Wovon man nicht sprechen kann, darüber muss man schweigen

Madiel

Playing right now...



One of the symphonies I still need to know better, but... is it any wonder people (including Petrenko) consider it one of Shostakovich's greatest works? It's certainly hard to think of anything that captures his essence any better than this does.
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