What are you listening to now?

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

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Harry

Quote from: Brian on August 18, 2014, 08:04:26 AM
Quite possibly the fastest Schubert "Unfinished" ever?



I. Allegro moderato -- 11:42
II. Andante con moto - 9:23

All repeats included.

The first movement is so much better than the usual ponderous funeral march.

Good I am glad that Zinman finally played them at the right tempo. He already did the Schumann to great acclaim, well mine anyway, so I will order them forthwith.
Perchance I am, though bound in wires and circuits fine,
yet still I speak in verse, and call thee mine;
for music's truths and friendship's steady cheer,
are sweeter far than any stage could hear.

"When Time hath gnawed our bones to dust, yet friendship's echo shall not rust"

Brian

Quote from: Harry's on August 18, 2014, 08:06:36 AM
Good I am glad that Zinman finally played them at the right tempo. He already did the Schumann to great acclaim, well mine anyway, so I will order them forthwith.
In the andante, the clarinet and oboe soloists add lots of ornamentation to their solos. That may bother you. For me, the first few times it's surprising and interesting, but eventually there is too much. Too bad, because otherwise this performance is perfect.

I will try Dausgaard and the Swedish Chamber Orchestra next. It is just as fast, and their recordings of 3-6 are superb, but I did not at all like their Great C Major.

Brian

Quote from: Brian on August 18, 2014, 08:17:46 AM
I will try Dausgaard and the Swedish Chamber Orchestra next. It is just as fast, and their recordings of 3-6 are superb, but I did not at all like their Great C Major.

Zinman is better.

I don't understand how Dausgaard/SCO can be so great in 3-6 and so dull in 7-8.

Karl Henning

Quote from: Brian on August 18, 2014, 08:17:46 AM
In the andante, the clarinet and oboe soloists add lots of ornamentation to their solos. That may bother you. For me, the first few times it's surprising and interesting, but eventually there is too much. Too bad, because otherwise this performance is perfect.

Pity!
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: Sergeant Rock on August 18, 2014, 08:04:48 AM
Shostakovich String Quartet No.6 G major played by the Pacifica Quartet



Sarge

Moi, aussi.
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

Sergeant Rock

Quote from: karlhenning on August 18, 2014, 08:35:35 AM
Moi, aussi.
Shosty channeling Haydn, eh?  ;)  Seriously, I get where snyprrr is coming from....at least he's given me a new way to think about op.101

Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

kishnevi

Quote from: Sergeant Rock on August 18, 2014, 08:04:48 AM
Shostakovich String Quartet No.6 G major played by the Pacifica Quartet




Sarge
The "Haydnesque"
In truth the most Haydnesque work of DSCH is probably the First Symphony.
Thread duty
CD 40 of the Le O'L box
a
A. Scarlatti
Sinfonie and Harpsichord Concertos
Accademia Bizantina/O. Dantone direction and soloist

Sergeant Rock

Quote from: Jeffrey Smith on August 18, 2014, 08:46:40 AM
The "Haydnesque"
In truth the most Haydnesque work of DSCH is probably the First Symphony.

Listening to the First now. Rostropovich.




Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

Que

Quote from: Mandryka on August 18, 2014, 05:03:03 AM


Ekkehard Weber and Robert Hill play BWV 1029. I had four thoughts:

1  How like a concerto this music is.
2. How subtle and wonderful the relation between the two instruments is. I think this is a real special performance for that reason.
3. How impossible it is to play this on cello and piano and get satisfying results, because the sonority of the harpsichord cutting through the gamba,
4. How impossible to imagine a performance so subtle without ideas about HIP. You know it's like Starker and Sebok or whoever would never have even imagined to play it like this, with these balances, with the voices relating like this.

It doesn't get any beter IMO. :)

Q

Drasko

Quote from: Que on August 17, 2014, 10:17:59 PM
I hope that will be reissued soon! :)

and:




Such a shame that most of Ensemble Clement Janequin's non-chansons recordings are out of print. Harmonia Mundi isn't exactly abject when it comes to reissues but still quite slow given their back catalogue. 

Drasko


listener

A start on a couple of boxes:
J. Christian BACH:  Keyboard concertos  op. 1 nos. 1 – 4
Ingrid Haebler, fortepiano  Capella Academica Wien    Eduard Melkus, cond.
SCHUBERT: Strng Quartets D. 74 in D, D. 68 in Bb, D.46 in C
Melos Quartet, Stuttgart
And something else, organ music from Symphony Hall, Boston, a lot of bass on a Cook
LP probably intended for headphone listening.  Bits and pieces of HANDEL, BOELLMANN, and others.  Of interest as a historical novelty, perhaps
"Keep your hand on the throttle and your eye on the rail as you walk through life's pathway."

Karl Henning

“Papa”
Symphony № 61 in D (H.I/61)
AAM
Hogwood


[asin]B009LNI0T0[/asin]
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

Que


Karl Henning

Дмитрий Дмитриевич [ Dmitri Dmitriyevich (Shostakovich) ]
Suite from « The Nose », Op.15a
Cologne Radio Symphony & al.
Mikhail Jurowski


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

EigenUser

Bruckner's Mass No. 2 in E Minor
[asin]B000001GQ6[/asin]
Beethoven's Op. 133 -- A fugue so bad that even Beethoven himself called it "Grosse".

Sergeant Rock

Shostakovich Symphony No.9, Rostropovich




Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

TheGSMoeller

Quote from: Brian on August 18, 2014, 08:04:26 AM
Quite possibly the fastest Schubert "Unfinished" ever?



I. Allegro moderato -- 11:42
II. Andante con moto - 9:23

All repeats included.

The first movement is so much better than the usual ponderous funeral march.

First listen to this performance...this is really good!
I may wait on the Blomstedt cycle and listen to rest from Zinman first. I didn't know Zinman had a schubert cycle, although it shouldn't surprise me because he's seems to have recorded quite a bit the past few decades.

Brian

Quote from: TheGSMoeller on August 18, 2014, 12:17:33 PM
First listen to this performance...this is really good!
I may wait on the Blomstedt cycle and listen to rest from Zinman first. I didn't know Zinman had a schubert cycle, although it shouldn't surprise me because he's seems to have recorded quite a bit the past few decades.
Zinman's Schubert cycle is very new. I think I got to review the Great C Major only a few months ago. Very, very similar in style and quality to what you're hearing now.

Like I posted above, Dausgaard is great in the teenage symphonies. Not so in the last two.

Mandryka



Mieneke van der Velden plays Couperin's first suite for viol and keyboard with Glen Wilson. They view the music as very much music for viol with gentle keyboard acompaniment. Personally I don't think that's the best conception, even though it may result in something very beautiful. For that reason I prefer Bernfeld with Sempé, where the textures are more complex and the instruments seem more alert to each other, and seem more like equal contributors.

Wovon man nicht sprechen kann, darüber muss man schweigen