What are you listening to now?

[Kontrapunctus]

Still sounds great after some 57 years!

[André]

For the Sacred and Choral recordings box, DGG has fit the whole thing on a single disc. I much prefer it to his 1960, 1964 and 1974 recordings, which don't escape hints of sluggishness and too homogeneous textures. This 1985 remake is 5 minutes swifter and moves along smartly when it counts. The soloists have been savaged by just about every critic, but I think they miss the point Karajan was attempting to make in this valedictory recording: turning away from the glamorous 'dream quartet' concept, he chose singers from the middle rank, guiding them expertly to blend in or out of the choral/orchestral textures. The results, as in the Et incarnatus or the Crucifixus are superb. The recorded sound is spectacularly good.

[SimonNZ]

[André]

A really, really beautiful performance by the winds of the great BRSO. Over refined almost...

[Daverz]

Still sounds great after some 57 years!

I don't care if it marks me as a complete vulgarian, but I love this work.  The Monteux is indeed a great recording, but there are many other excellent ones.  Even Klemeperer was partial to the work.

Thread duty:

Bax: Symphony No. 4 and November Woods



Sadly OOP.  Download only here:

https://www.prestoclassical.co.uk/classical/products/7928743--bax-symphony-no-4-etc

[asin] B000027QWV[/asin]

Mendelssohn: Symphony No. 1

[asin] B01MFCZ6CI[/asin]

Manze et al seem to really believe in this work.

[Zeus]

If it sounds good it is good!

Brahms: A German Requiem
Rattle, Berliner, Quasthoff, Roschmann
EMI

[asin] B000MTEDIE[/asin]

[Que]

Morning listening:

[asin]B006WG3U2Q[/asin]
Can't believe I got this set in September 2016.... still not tired of it...

Q

[Que]

Still sounds great after some 57 years!

It's a true Classic and I (still) love it. 

Q

[pi2000]

Enescu and Mendelssohn
from this excellent CD
[asin] B00284SDLY[/asin]

[RebLem]

On Sunday, 15 JUL 2018, I listened to 3 CDs.

1)  Frank Bridge (1879-1941):  |Tr. 1.  Dance Rhapsody for orchestra, H84 (1908) (19'16)  |Tr. 2-6.  Five Entr'actes, H. 95 (1910), for the play "Two Hunchbacks," by Emile Cammaerts (1878-1953) (12'05)  |Tr. 7.  Dance Poem for orchestra, H. 111 (1913) (13'48)  |Tr. 8.  Norse Legend for small orchestra, H. 60 (1905/1938) (4'48)  |Tr. 9-12.  The Sea, Suite for Orchestra, H. 100 (1910-11) (22'08)--Richard Hickox, cond., BBC Symphony Orchestra of Wales.  CD 2 of a 6 CD CHANDOS set of Frank Bridge's complete orchestra works by these forces.  Rec. 19-20 SEP 2001 Brangwyn Hall, Swansea.

The recording of the Dance Rhapsody is a world premiere recording, the only such on this CD.  It was first performed in 2008 at the Royal College of Music, to "considerable critical  acclaim," the composer conducting.  But it didn't stick.  It received only 3 other performances during the composers lifetime, and it seems to have had only once performance after his death before the one in hand.  It deserves better.  Bridge was always in love with the full on romanticism of Russian composers, and one can hear their influence here in this very appealing work.

The Five Entr'actes is, of course, incidental music.  The author of the play was a Belgian writer.  It was first performed as the second part of a double bill in London, organized by Marie Brema, a prominent mezzo-soprano of the day, who had been, among other things, the first Angel in the premiere performance of Elgar's Dream of Gerontius in 1900.  She was also the Belgian writer's mother-in-law.  It helps to have connections!  It is a fairytale set in the Belgian Ardennes, with lots of Belgian folk music providing the basis for the score, which is for a standard theater orchestra of that time. 

Dance Poem is a short ballet, and in it we find the beginnings of a change of style, to a more conservative, restrained, and disciplined method and style of composition.  He is becoming more concerned with formal structure, while still retaining a very romantic approach.

Norse Legend was originally composed in 1905 as a piece for violin and pian, but Bridge decided to orchestrate it in 1938. 

And finally, The Sea is the most important work on this CD.  For one thing, this is the first work Bridge took with him on his fir US tour in 1923, which was to Boston, Cleveland and Detroit.  He found the Cleveland audience particularly attentive and appreciative.  And it is the only purely orchestra work he wrote for which he also wrote a descriptive program:
"Seascape paints the sea on a summer morning.  From high drifts is seen a great expanse of waters lying in the sunlight.  Warm breezes play over the surface.  Sea-foam froths among the low-lying rocks and pools on the shore, playfully not stormy.  Moonlight paints a calm sea at night.  The first moonbeams are struggling to pierce through dark clouds, which eventually pass over, leaving the sea shimmering in full moonlight.  Finally, a raging Storm.  Wind, rain, and tempestuous seas, with the lulling of the storm and alllusion to the first number is heard and which may be regarded as the sea-lover's dedication to the sea."

2-3)  G. F. Handel (1685-1759):  Messiah (1742) (2'20'40)--Timothy Dean, cond., The Choir & Orchestra of Pro Christe, Jennifer Smith & Helen Kucharek, sopranos, Linda Finnie, mezzo-soprano, Neil Mackie, tenor, Rodney Macann, bass-baritone.  2 GUILD CDs, rec. St Augustine's Church, Kilburn, London, 1986.

Some months ago, I ordered a slough of CDs from Presto Classical in the UK, in response to Lance's telling us of a massive sale on a number of labels there, chief among them GUILD records.  I went to the Presto site in response to that post, and found the  GUILD records did have the deepest discounts, so I ordred only GUILD records I was interested in.,  The captioned issue was one of them.  I knew nothing about it.  I bought it blind, without ever having read a review of it, just bought it on spec, because I am always interested in getting recordings of this work, one of my all time favorites.

I am pleased to tell you I lucked out.  Although this does not reolace the 1966 Mackerras recording with the English Chamber Orchestra, Elizabeth Harwood, the incomparable Janet Baker, Paul Esswood, Robert Tear, Raimund Herincz & The Ambrosian Singers in my affections, this version conducted by Timothy Dean is now my second favorite recording of this work; I will be listening to it again.  This is not one to just retire to my shelves and forget.  For me, the touchstone for this work is the low female voice aria, "He was desised."  And I have to say only Janet Baker does it better than Linda Finnie, and that by a small margin.  And of course, another magnificent part of this work is the Hallelujah Chorus which ends Part II; then he begins Part III with "I know that my Redeemer liveth," a calm, quiet, serene expression of religious faith.  Its as if Handel is saying, "Perhaps you thought the Hallelujan Chorus was a tad overwrought.  If so, I think this one will really get ya!"  This version is marred slightly by the lack of an Amen Chorus at the end.  It ends with the chorus "Worthy is the lamb," which is, however, developed into a very fine, rousing chorus in the last bars.

[vandermolen]

I don't care if it marks me as a complete vulgarian, but I love this work.  The Monteux is indeed a great recording, but there are many other excellent ones.  Even Klemeperer was partial to the work.

Thread duty:

Bax: Symphony No. 4 and November Woods



Sadly OOP.  Download only here:

https://www.prestoclassical.co.uk/classical/products/7928743--bax-symphony-no-4-etc

[asin] B000027QWV[/asin]

Mendelssohn: Symphony No. 1

[asin] B01MFCZ6CI[/asin]

Manze et al seem to really believe in this work.

That is the best version of Bax's underrated 4th Symphony and it's a pity that Bryden Thomson did not continue the cycle with the Ulster Orchestra. Boult's is also the best version of Bax's Tapiola-like 'November Woods'.

I like the way that the Martinon box reproduces the LP sleeves in miniature - the the Morton Gould Chicago SO box.

[vandermolen]

On Sunday, 15 JUL 2018, I listened to 3 CDs.

1)  Frank Bridge (1879-1941):  |Tr. 1.  Dance Rhapsody for orchestra, H84 (1908) (19'16)  |Tr. 2-6.  Five Entr'actes, H. 95 (1910), for the play "Two Hunchbacks," by Emile Cammaerts (1878-1953) (12'05)  |Tr. 7.  Dance Poem for orchestra, H. 111 (1913) (13'48)  |Tr. 8.  Norse Legend for small orchestra, H. 60 (1905/1938) (4'48)  |Tr. 9-12.  The Sea, Suite for Orchestra, H. 100 (1910-11) (22'08)--Richard Hickox, cond., BBC Symphony Orchestra of Wales.  CD 2 of a 6 CD CHANDOS set of Frank Bridge's complete orchestra works by these forces.  Rec. 19-20 SEP 2001 Brangwyn Hall, Swansea.

The recording of the Dance Rhapsody is a world premiere recording, the only such on this CD.  It was first performed in 2008 at the Royal College of Music, to "considerable critical  acclaim," the composer conducting.  But it didn't stick.  It received only 3 other performances during the composers lifetime, and it seems to have had only once performance after his death before the one in hand.  It deserves better.  Bridge was always in love with the full on romanticism of Russian composers, and one can hear their influence here in this very appealing work.

The Five Entr'actes is, of course, incidental music.  The author of the play was a Belgian writer.  It was first performed as the second part of a double bill in London, organized by Marie Brema, a prominent mezzo-soprano of the day, who had been, among other things, the first Angel in the premiere performance of Elgar's Dream of Gerontius in 1900.  She was also the Belgian writer's mother-in-law.  It helps to have connections!  It is a fairytale set in the Belgian Ardennes, with lots of Belgian folk music providing the basis for the score, which is for a standard theater orchestra of that time. 

Dance Poem is a short ballet, and in it we find the beginnings of a change of style, to a more conservative, restrained, and disciplined method and style of composition.  He is becoming more concerned with formal structure, while still retaining a very romantic approach.

Norse Legend was originally composed in 1905 as a piece for violin and pian, but Bridge decided to orchestrate it in 1938. 

And finally, The Sea is the most important work on this CD.  For one thing, this is the first work Bridge took with him on his fir US tour in 1923, which was to Boston, Cleveland and Detroit.  He found the Cleveland audience particularly attentive and appreciative.  And it is the only purely orchestra work he wrote for which he also wrote a descriptive program:
"Seascape paints the sea on a summer morning.  From high drifts is seen a great expanse of waters lying in the sunlight.  Warm breezes play over the surface.  Sea-foam froths among the low-lying rocks and pools on the shore, playfully not stormy.  Moonlight paints a calm sea at night.  The first moonbeams are struggling to pierce through dark clouds, which eventually pass over, leaving the sea shimmering in full moonlight.  Finally, a raging Storm.  Wind, rain, and tempestuous seas, with the lulling of the storm and alllusion to the first number is heard and which may be regarded as the sea-lover's dedication to the sea."

2-3)  G. F. Handel (1685-1759):  Messiah (1742) (2'20'40)--Timothy Dean, cond., The Choir & Orchestra of Pro Christe, Jennifer Smith & Helen Kucharek, sopranos, Linda Finnie, mezzo-soprano, Neil Mackie, tenor, Rodney Macann, bass-baritone.  2 GUILD CDs, rec. St Augustine's Church, Kilburn, London, 1986.

Some months ago, I ordered a slough of CDs from Presto Classical in the UK, in response to Lance's telling us of a massive sale on a number of labels there, chief among them GUILD records.  I went to the Presto site in response to that post, and found the  GUILD records did have the deepest discounts, so I ordred only GUILD records I was interested in.,  The captioned issue was one of them.  I knew nothing about it.  I bought it blind, without ever having read a review of it, just bought it on spec, because I am always interested in getting recordings of this work, one of my all time favorites.

I am pleased to tell you I lucked out.  Although this does not reolace the 1966 Mackerras recording with the English Chamber Orchestra, Elizabeth Harwood, the incomparable Janet Baker, Paul Esswood, Robert Tear, Raimund Herincz & The Ambrosian Singers in my affections, this version conducted by Timothy Dean is now my second favorite recording of this work; I will be listening to it again.  This is not one to just retire to my shelves and forget.  For me, the touchstone for this work is the low female voice aria, "He was desised."  And I have to say only Janet Baker does it better than Linda Finnie, and that by a small margin.  And of course, another magnificent part of this work is the Hallelujah Chorus which ends Part II; then he begins Part III with "I know that my Redeemer liveth," a calm, quiet, serene expression of religious faith.  Its as if Handel is saying, "Perhaps you thought the Hallelujan Chorus was a tad overwrought.  If so, I think this one will really get ya!"  This version is marred slightly by the lack of an Amen Chorus at the end.  It ends with the chorus "Worthy is the lamb," which is, however, developed into a very fine, rousing chorus in the last bars.

The Sea, Enter Spring and Oration are all masterpieces in my view.

[Harry]

This delightful twofar has been visiting my player quite often. It is seldom occurrence that music, performance and sound so perfectly work together. A true synergy, so to speak, these 12 solos belong to the best Telemann composed, the French, German and Italian style all combined in this fantastic recording.

[Florestan]

Over the last few days, sheer joy with Boccherini



Now playing:

[Traverso]

Xenakis

Antikhthon
Persepolis

[Florestan]

Haydn is (rightly) celebrated as the father of the string quartet, in which genre he produced tons of high quality works. Why Boccherini doesn't get the same treatment when it comes to string quintets and string trios is beyond me.

[Harry]

It is really hard to resist the gorgeous music by Francisco Correa de Arauxo, especially if they come in such mesmerizing performances. Francesco Cera is a excellent performer, who realizes the full potential of the music, and the need to perform this on a Renaissance organ. The result is such that for me it is the single best interpretation I heard so far. Everything on this recording fits, including the fine sound.
CD II.

[Wakefield]

The Bach recordings I know he made are (for Kontrapunkt) AoF, CÜ III and the Orgelbüchlein, and for Helicon a CD with mostly free Bach Works, the passacaglia among them all on the organ of Vor Frelsers Kirke, København. I have never seen a recording of the triosonatas in Kontrapunkt's catalogue, so I doubt it exists. I feel tempted to write a mail to him and ask.

I have a huge soft spot for the Orgelbüchlein, so I immediately searched for his version on Apple Music. Unfortunately the sedated tempi put me off almost immediately too. BTW, do you have something like a favorite Orgelbüchlein, Poul?

[Traverso]

Bach

Accardo is one of my favorite Bach violin players .I prefer a hip performance ( Kuijken or Mulova )   but Accardo is a violin player to my heart,he plays effortless and shows great affinty with Bach.
This is my number one non hip recording.

[prémont]

I have a huge soft spot for the Orgelbüchlein, so I immediately searched for his version on Apple Music. Unfortunately the sedated tempi put me off almost immediately too. BTW, do you have something like a favorite Orgelbüchlein, Poul?

My mentioning of him was not meant as a recommendation. Even if I prefer moderate tempi for the Orgelbüchlein, I agree that Jens Christensen is too sleepy.

There are many good recordings of the Orgelbüchlein (ignoring the PI relevancy):

Saorgin
Alain (so called second integral)
Heiller
Cera
Rogg (second integral, Arlesheim)
Preston

to name a few.

But if you ask for my favorites, I have a certain fondness for Kraft and Stockmeier.