What are you listening to now?

[Karl Henning]

HAPPY BIRTHDAY!!!

And what could be more appropriate?

"Papa"
Te Deum in C (Hob. XXIIIc)
Kuijken & La Petite Bande

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[The new erato]

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[HIPster]

Good morning!  On my Wish List, that is.

[asin]B01N0GWQ1D[/asin]

A good morning to you, Karl!   

The Weinberg set is smashingly good, I say.   

Playing this morning ~

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Giorgio Sasso extracts every single drop of emotion possible from this music.  I find it ravishingly beautiful.  Too slow?  Yes and I feel that is very much Sasso's intent.  He and his group want us to slow down, pause for a bit and find peace/calm/stillness within through the music of J.S. Bach.

Sound is clear, but slightly distant. 

[Karl Henning]

[asin]B01N0GWQ1D[/asin]

A good morning to you, Karl!   

The Weinberg set is smashingly good, I say.   

I am sure of it!

Thread Duty:

HAPPY BIRTHDAY!!!

"Papa"
String Quartet in F, Op.50 № 5 (H.III/48)
The Nomos Quartet

[Spineur]

[asin]B01N0GWQ1D[/asin]

A good morning to you, Karl!   

The Weinberg set is smashingly good, I say.   

I saw it somewhere and whislisted.  Can you tell us a bit more about it ?  This is a new release right ?

TD: Another fantastic work of Johannes Brahms: Piano quintet Op 34

[Todd]

Disc 8.

[Mirror Image]

Listening to Charlie's Orchestral Set No. 2 from this recording:





About Ives' Orchestral Set No. 2:

Charles Ives did not intend for his Orchestral Set No. 2 to be a follow-up to the famous first set, Three Places in New England. His notes indicate that by 1911 he'd completed the first two movements, and that the third was written in the fall of 1915. The finished grouping of these three movements wasn't assembled until 1919, whereas Three Places was put together around 1914. Ives' Orchestral Set No. 2 premiered under Morton Gould in Chicago in 1967.

The Orchestral Set No. 2 is scored for a very large orchestra and chorus, rivaling the scale of the Fourth Symphony. The first movement, entitled "An Elegy to Our Forefathers," was originally conceived as an "Overture to Stephen Foster" and undertaken around 1909. It includes quotations from such familiar Foster fare as "Old Black Joe" and "Massa's in de Cold, Cold Ground," but also snatches of African American spirituals such as "Nobody Knows the Trouble I've Seen." Bathed in dark hues of thick, mysterious orchestral color, this movement is the most touching of Ives' forays into African American song. Conductor Leopold Stokowski attempted to point up this element of the work by asking composer Hershy Kay to add a unison chorus to this movement in 1970. While the added choral part doesn't sound out of place in this context, Ives never intended it, and this addition has to be considered spurious.

The second movement, "The Rockstrewn Hills Join in the People's Outdoor Meeting" is based on the Four Ragtime Dances of 1902; some of the same material also appears in the fourth movement of the First Piano Sonata. This piece is a full throttle, no-holds-barred send-up of ragtime rhythm; it contains some of Ives' most trenchantly dissonant writing for the strings and brass in the center section. Bells ring in the climax, consisting of a wonderfully sour rendering of "Bringing in the Sheaves" before the music quiets back down. Despite the outdoor setting indicated by the title, this is urban music -- big and ugly.

The final piece, "From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose" memorializes an event that occurred on a train platform in New York City on Friday, May 7, 1915. Ives records in his Memos how the atmosphere on that day was thick with apprehension at the news that a German Submarine had torpedoed the Lusitania, meaning war was imminent. As Ives waited along with a crowd at the Third Avenue "El," "In the Sweet Bye and Bye" broke out among some of the workers, and soon the whole crowd picked it up. As the train arrived, the magic remained; no one spoke, and some were still singing the tune while boarding. In Ives' score, he utilizes the large orchestral forces at his disposal and unison chorus to perfectly capture the tension and claustrophobia of this scene.

[Article taken from All Music Guide]

[HIPster]

I saw it somewhere and whislisted.  Can you tell us a bit more about it ?  This is a new release right ?

Hi Spineur.

More?

Well, I like Kremer and his group quite a lot.  Apparently he (Kremer) has an affinity for Weinberg and has championed his works.  This release is relatively recent (I think at the end of '16).  This set was a gift from a music-loving friend. 

Not being familiar with other works by Weinberg, there's nothing to compare with in that sense.  But Kremer seems to really be committed here - again, as he usually is in my experience.

There's a whole sound-world contained within the ECM aesthetic.  At their best, Mannfred Eicher's releases help to create a continuum of sound and space.  The gap(s) are then easily, or perhaps more readily, bridged between labels: Classical, New, Early, Jazz, World, Folk, Acoustic, Electronic, etc..  Kremer fits nicely within this universe.

The music?  It's among the best of the more recent, contemporary period.  The first CD begins with Weinberg's Chamber Symphony no. 3.  There's a sense of mystery, of a drama unfolding around the listener.  It's a fantastic opening!  There is great beauty throughout this music.  Angst gives way to calm, for reflection perhaps.  Who knows?  Kremer doesn't tell us: we are right there, with him, finding our way through this music.  It's a very worthwhile journey. 

Why isn't Weinberg's music programmed more often in concert?  It's a valid question, especially after listening to a release such as this.

Cheers!

Birthday Boy thread duty ~

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This is a near-mandatory purchase for Haydn aficionado's and lovers of exquisite lute playing - so, like 98% of us here then. 

Fans of sterling sound quality are also invited.  Clear as a bell!

[Spineur]

Hi Spineur.

More?

.....

Why isn't Weinberg's music programmed more often in concert?  It's a valid question, especially after listening to a release such as this.

Cheers!

Thank you, this was exactly the kind of information I was interested in.  I think I am going to get it, but not before I catch up with my listening of recent acquisitions.

[The new erato]

An outstanding Pictures IMO:

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[Kontrapunctus]

Something weird is happening to many of the Amazon images in this thread after I increased the privacy setting in Firefox to block all tracking. I now see a generic yellow disc image with the message "Image not available. Click to see at Amazon." Makes me wonder just what was going on with those images before I increased security! Oddly enough, it doesn't happen with the ones that I post.

Anyway, back to what I'm listening to:

[Spineur]

Schumann string quartets

[aligreto]

Mahler: Symphony No. 1 [Kubelik]....





I have always been in a minority among my musical colleagues with never having been over enthused with this set. I came very close to selling it a number of years ago but I held on to it as a result of peer pressure and for fear of their wrath  . As a result I have not listened to it much in recent times. I have now decided to give the cycle another go.

[aligreto]

Vivaldi gives Haydn a run for his money when it comes to unbuttoned, joyous and happy sacred music. The Credo here is sublime.

100% and 100% in that order 

[aligreto]

I have a small number of CDs from that series but not that one. I have always enjoyed them I must say.

[AnthonyAthletic]

Quick question:

I received a batch of older CDs this week, used, mint etc.  What was baffling was the markings on the discs themselves.

Tchaikovsky 4 & 5 symphonies, DG Karajan and an oldish copy of Shostakovich 5 with Ashkenazy on Decca, all had a vivid neon PINK over print on the 'info' side of the cd.

The overprint was, Original CYX DBGM.  With the same pink slashes like on the segments of a clock face around the circumference.

Anyone shed any light on this?  I certainly have never seen this before, discs are original DG/Decca or seem to be.  Anyone know what CYX DBGM means? A supplier, middleman, perhaps?

Cheers.

[ritter]

First listen to Ernesto Halffter 's Guitar Concerto  from this recent acquisition;


An interesting late work,  in which the composer amalgamates his "stark Spanish neo-classical" style  (clearly indebted to  works by his teacher Falla, such as the Harpsichord Concerto and Master Peter's Puppet Show) with more audacious harmonies.

Very eloquently performed  (as could be exprcted) by Eliot Fisk---even if I have nothing to compare it to--, but thé orchestral contribution has a slight ad hoc feeling to it (with some intrusive noise from the audience and/or the stage ).

[aligreto]

Atterberg: Suite No. 7 Op. 29 [Wallin]....





What a wonderful, intriguing sound world. This is wonderful music.

[Zeus]

Man, I love this kind of music...

Une flute invisible...: Musique francaise a l'aube du XXe siecle



Nothing demanded of the listener, just a non-stop series of aural delights. Some solo piano, some piano with flute, some chansons with Hervé Lamy and/or Sandrine Piau; all mixed together to create a deeply satisfying experience.

Highest rating!

[SonicMan46]

Couple of 'new arrivals':

Faure, Gabriel - Violin Sonatas w/ the gals on the cover art below - just the 2 sonatas, so about 25 minutes left on the CD - my second disc of these works in my collection is Pascal Devoyon & Dong-Suk Kang on Naxos w/ about 12 additional minutes (3 shorter Faure works included) - attached are several reviews of the CD shown for those interested.

Bach-Abel-Binder - Cello & Keyboard Sonatas w/ Brigitte Haudebourg on a fortepiano & Philippe Foulon on a 'violoncello d'amore' - kind of like a baryton - third pic below shows the bridges w/ regular and sympathetic strings; booklet notes discuss mainly the instruments in depth - recommended by several members in this thread (believe one was André) - composers all from the 18th century - a delightful recording.  Dave