What are you listening to now?

[Que]

Will gladly listen to that Pires interview as well ... the DG box is on the way, the Erato on pre-order still, and the little Brilliant box with Mozart sonatas just lent to a colleague ... spreading word 

I was about to point out that gemm, recorded during Pires' earliests years at Denon, myself!

Gordo, I think you will find that her later cycle for DG doesn't match it in witt and spontaneity. 

Q

[The new erato]

Du to a recent lull in CDCDCD, I've listened to this twice, and found it very enjoyable:

[asin]B00HQRC8EG[/asin]

I found the best price on amazon.ca.

[king ubu]

.


Les Baricades Mistérieuses
Hanneke van Proosdij, harpsichord

Pieces by François and Armand-Louis Couperin, d'Anglebert, Guédron, Balbastre, Forqueraia, Rameau and others ... wonderfully played and gloriously recorded. But be aware that the CDs "in the traditional format" that they're selling are actually CD-Rs - at least this one is. They'd rather sell FLAC or Hi-Def files if they want us to hear "exactly the same as the master copy we create in the studio".

But this album is glorious indeed!

[The new erato]

And the label is?

[Sergeant Rock]

Henning Op.75/2 City of the White Nights.

Sarge

[king ubu]

And the label is?

Not a proper label, it seems - just selling their own stuff via their website already linked to above: http://voicesofmusic.org

Now playing:

[asin]B009CATSSE[/asin]

[Sergeant Rock]

Listening to some fussy Chopin.




Sarge

[TheGSMoeller]

Henning Op.75/2 City of the White Nights.

Sarge

Same here, great piece. Bravo, Karl!

[Sergeant Rock]

Brian's 31st goes on my list of "Great pieces with bad endings"

I think I know what you mean. It seems the final chord goes missing  But the coda is one of Brian's most beautiful creations and I rather like the way it ends, seemingly in the wrong place. It always takes me by surprise, in a good way. The late, great Malcolm MacDonald had a theory though. He wrote:

"There is no fixed key-centre [in the Symphony]: the tonality shifts constantly as it might do in the working-out of a Bach fugue. But the comparative stability of the beginning, which grows from a repeated B flat, on timpani, and of the end, a fortissimo tutti on a bare-fifth of E flat, lends some colour to the idea of the work as a vastly expanded dominant-tonic cadence."

An interesting idea but I'm not sure we mere mortals can feel the rightness of that cadence spread over 14 minutes. I can't anyway, even when I'm consciously listening for it.

Sarge

[Sergeant Rock]

Chopin was interrupted by another listen to Brian's 31st...but it's back now to Arrau's Nocturnes.

Sarge

[7/4]

Harold Budd - La Bella Vista
Peter Garland - String Qts.
WQXR On-Demand Audio: Ralph van Raat Performs Andriessen, Lang and Adams
Kronos Quartet Performs Philip Glass

[listener]

Some of last week's arrivals, all works new to me.
HUBAY works for violin and piano, the later ones
Scène de la Csárda no.13 op.102,  4 Pieces op. 95, Scène de la Csárda no.14 op.117, Adieu, op.111
Variations on a Hungarian Theme for Violin Solo
Marche hongroise op. posth. for piano 4-hands
LISZT-HUBAY Hungarian Rhapsody after the Paraphrase on "Die drei Zigeuner"
Ferenc Szecsódy, violin     István Kassai, piano
The Variations for solo violin show a lot of similarities  to Paganini' Caprices.
Ignatz WAGHALTER (1881-1949), long time music director of the Berlin Opera House, a student of Scharwenka and Joachim:
Violin Concerto, Rhapsodie, Violin Sonata and 3 short pieces
Irmina Trykos, violin   Giorgi Latsabidze, piano
Royal Philhamonic Orch.   Alexander Walker, cond.
RUBINSTEIN:  Symphony no. 4 in d, op. 95  "Dramatic"
Czech-Slovak State Philharmonic Orch  Košice
Robert Stankowsky, cond.

[Sergeant Rock]

Prokofiev Symphony No.5 B Flat op.100, Järvi conducting the Scottish National




Sarge

[EigenUser]

I think I know what you mean. It seems the final chord goes missing  But the coda is one of Brian's most beautiful creations and I rather like the way it ends, seemingly in the wrong place. It always takes me by surprise, in a good way. The late, great Malcolm MacDonald had a theory though. He wrote:

"There is no fixed key-centre [in the Symphony]: the tonality shifts constantly as it might do in the working-out of a Bach fugue. But the comparative stability of the beginning, which grows from a repeated B flat, on timpani, and of the end, a fortissimo tutti on a bare-fifth of E flat, lends some colour to the idea of the work as a vastly expanded dominant-tonic cadence."

An interesting idea but I'm not sure we mere mortals can feel the rightness of that cadence spread over 14 minutes. I can't anyway, even when I'm consciously listening for it.

Sarge

YES! Exactly! I'm glad someone else knows what I am talking about. On my first listen, I was waiting for the "last chord", but then the YouTube suggested videos came up! The Messiaen, on the other hand, has the complete opposite issue. It repeats the "last chord" 31 times. Maybe we could steal one from the Messiaen and give it to the Brian .

[Brian]

Okay, I'm gonna have to try HB's 31st, but only after this message from Shostakovich:

Symphony No 9
Milan SO 'Giuseppe Verdi'
Oleg Caetani

[Sergeant Rock]

The Messiaen, on the other hand, has the complete opposite issue. It repeats the "last chord" 31 times. Maybe we could steal one from the Messiaen and give it to the Brian .

Sarge

[Lisztianwagner]

Sergei Prokofiev
Piano Concerto No.1

[asin]B0000041LA[/asin]

[EigenUser]

Okay, I'm gonna have to try HB's 31st, but only after this message from Shostakovich:

Symphony No 9
Milan SO 'Giuseppe Verdi'
Oleg Caetani

I'm not Shostakovich, but I approve this message!

[jlaurson]

 
Listen to what the Cat Dragged In:


G. Finzi
  Dies Natalis, Grand Fantasia & Toccata
Langridge / Hickox / RLPO
EMI
German link - UK link

I had no R.Strauss lying around on his BDay, so this did nicely: #morninglistening @VirginEMI, #Finzi #classicalmusic

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[Ken B]

Lou Harrison: Double Concerto for Violin and Cello with Javanese Gamelan