What are you listening to now?

[listener]

Alondra de la Parra conducting Music of Mexico,  pops (ROSAS, TOUSSAINT), a PONCE guitar concerto, several concert openers REVUELTAS: Sensemayá, MONCAYO: Huapango and MÁRQUEZ:  Danzón 2 and CHAPELA: Inguesu based on a soccer match between Mexico and Brazil à la 21st century R. Strauss
Composer's note:" I downloaded the match report and assigned the woodwinds as the Mexican players, the brass as the Brazilians, the percussion as the bench, the strings as the audience, the harp and piano as the coaches, and the conductor as the referee. Afterwards I drew a chart containing the most relevant moments of the game, such as the scoring of the goals, the replacement of players, the drawing of yellow cards, and of course the fouled-out Brazilian defender played by the bass trombone, whom the conductor is supposed to warn with the yellow card before throwing him off stage with the red card, near the end of the match.
The musical themes are based on both Mexican and Brazilian folk music ostinatos, as well as in very-well-known-by-every-Mexican courses and chants that occur in soccer stadiums throughout the country, e.g. "La mentada", "El lero-lero" & "El Q-lero".
then GLAZUNOV: Raymonda
Moscow Symphony Orch.,  Alexander Anissimov,l cond.

[ritter]

Well he's rather great in all the recordings, but then again, I only know alternatives for two (Chailly's Turangalîla & Baudo's Et exspexto). And yeah, I'm sure there aren't that many chances to see it live in Iberia or thereabouts, unlike in Finland.  0:)

When I wrote "you don't get..." it was meant to mean "one doesn't get...": here in Spain, or elswhere...  

Cheers (while listening to Cantéyodjayâ, and having been more impressed than ever before by Mode de valeurs et d'intensités)!

[North Star]

When I wrote "you don't get..." it was meant to mean "one doesn't get...": here in Spain, or elswhere...  

Cheers (while listening to Cantéyodjayâ, and having been more impressed than ever before by Mode de valeurs et d'intensités)!

Oh, I didn't mean to write like I thought you meant anything but the passive 'you'.

[ritter]

JS Bach
Goldberg Variations
Transcription; Preludes and fugues
Italian Concerto

Maria Tipo

from (#1-3)
[asin] B000FOTHGY[/asin]

That looks very attractive (and sounds very interesting in that YouTube)  . It's also very expensive  ... I'll have to keep an eye out for affordable copies that may surface every now and then...

Thread duty: after all that Messiaen, couldn't help but return to Charles Rosen playing the Debussy Études...the pieces are a perennial favourite of mine, and Rosen's rendition is remarkable (even if I seem to notice an occasional wrong note    )...

I've had some snippets of Pour les tièrces stuck in my head these past days... 

[André]

Shostakovich: symphony no 7. Gennady Rozhdestvensky, USSR Ministry of Culture s. O. (Melodiya). Beautifully played. Great interpretation. Excellent sovietic sound. What a magnificent work !! Possibly the best 7th  I've heard along with Svetlanov  (Bernstein CSO, Haitink, Barshai, Kondrashin, Masur, Temirkanov, Toscanini).
*****

Dvorak: symphonies 7 and 8, The Wood Dove, American Suite. Concertgebouworkest, Amsterdam. *** 1/2 and ****1/2 respectively. Harnoncourt's conducting is revelatory (winds and brass lines) but the flow is anything but smooth. He makes so many agogic hesitations in 7:I for example as to make the music sound jerky and spasmodic when it should be smouldering and phosphorescently incandescent.

[mn dave]

BWAAHAAHAAAA
[asin]B000003CVF[/asin]

[Todd]

It being Halloween and all, I decided to sample some frightful music and selected Tzimon Barto's take on D899.  Imagine my surprise when I was not frightened.  Yes, this is arguably the most self-indulgent Schubert ever recorded - though one could make a case for some of Richter's Schubert, too, like his never-ending D894 - but it's not necessarily a disaster.  There's no doubt that this is more about Barto than Schubert, and some phrasing is really bizarre, and some jarring dynamic shifts occur for no reason at all, but listening to the Andante - here a slower than slow Largo - it is clear that the dark beauty of Barto's playing has at least some effective moments.  Don't get me wrong, this is not class leading Schubert, or anything like that, and Barto most certainly is not Richter's equal, but for those with a stomach for uber-willfulness (think Gould, Pogorelich, etc), this might appeal.  Or it might churn one's stomach.  Note that I have not listened to D780 or the longer than Richter's D894 yet.

[mn dave]

 
[asin]B00001YVCJ[/asin]

[NLK1971]

J. S. Bach transcriptions - Wilhelm Kempff. 
[asin][asin]B00006IKOS[/asin]

Initial impression: excellent.

[amw]

It being Halloween and all, I decided to sample some frightful music and selected Tzimon Barto's take on D899.  Imagine my surprise when I was not frightened.  Yes, this is arguably the most self-indulgent Schubert ever recorded - though one could make a case for some of Richter's Schubert, too, like his never-ending D894 - but it's not necessarily a disaster.  There's no doubt that this is more about Barto than Schubert, and some phrasing is really bizarre, and some jarring dynamic shifts occur for no reason at all, but listening to the Andante - here a slower than slow Largo - it is clear that the dark beauty of Barto's playing has at least some effective moments.  Don't get me wrong, this is not class leading Schubert, or anything like that, and Barto most certainly is not Richter's equal, but for those with a stomach for uber-willfulness (think Gould, Pogorelich, etc), this might appeal.  Or it might churn one's stomach.  Note that I have not listened to D780 or the longer than Richter's D894 yet.

I have no idea why incredibly slow D894s are a thing. Not only Richter (twice) and Barto, but Deyanova (29:18 (!) / 12:32 / 8:11 (!) / 9:40), Damerini and, to a lesser extent, Pennetier.

(Of course I was also surprised to learn how many Hammerklavier adagios and Op. 111 Ariettas break 20 minutes... maybe some pianists just have a slower = better thing?)

[ZauberdrachenNr.7]

Last of my Hallowe'en listening.  Ghoulies are in short supply this year - maybe it's the cold and the wind - fewer than a dozen and I'm stuck with a bunch o' candy that's way too sweet for my taste.  Time to start looking at my Christmas listening - an infinitely more frightening holiday!

[asin]B00003XAF8[/asin]

[kishnevi]

I have this one stuck somewhere on my shelves

Which also includes BWV 565 like yours.  Which I don't get, since it doesn't scare me in the least.
Thread duty

No horrors here.

[psu]

Some modern string music by Maria Newman

[asin]B004H1Z3Z0[/asin]

Very much in a Romantic style though.

[ZauberdrachenNr.7]

I have this one stuck somewhere on my shelves

Which also includes BWV 565 like yours.  Which I don't get, since it doesn't scare me in the least.

Me neither, but it's been used enough in films and cartoons for it to signify, mentally (if not emotionally) : 'supernatural terror.' 

I sure enjoy Bazzini's Ronde des Lutins - Gil Shaham's is super - Perlman's too fruity. 

[Karl Henning]

Oh, no need to apologize to me.

Got it!

[TheGSMoeller]

No. 6, Pastoral from this wonderful set...

[North Star]

Me neither, but it's been used enough in films and cartoons for it to signify, mentally (if not emotionally) : 'supernatural terror.' 

I sure enjoy Bazzini's Ronde des Lutins - Gil Shaham's is super - Perlman's too fruity.

Well it's a dramatic piece in a minor key, written for the organ. Of course it must be scary...

[kishnevi]

Investigating a vague memory and find it confirmed by Wikipedia which alleges the link between the Bach and horror started with the 1962 film version of Phantom of the Opera....but [citation needed]
http://en.m.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1962_film)

TD

[Karl Henning]

Just exulting in this Liszt box, this evening it has been the disc of mostly Wagner transcriptions, and now another of the organ discs.

[Brian]

Jeffrey, how was that Staier Schumann album?