What are you listening to now?

[aligreto]

Mozart: Piano Quartet in G minor K. 478 [Mozartean Players]....

[jlaurson]

I stand to be corrected but, working from memory, I do think the M5 in the above set is performed by the Berliners.

Really?! That set has never quite made sense to me. 

Yes. You are absolutely right -- which means that we were talking about the same performance, after all, and are therefore in agreement.

For the record: The set includes Berlin: 1, 5, 8 - Vienna: 2, 3, 4, 9, 10A - Chicago: 6, 7

This means there's overlap with the later DG set for Berlin 1, 5, 8...

and that Chicago No.1, No.2 & No.5 are not included in any set.

[Florestan]

Time to search for a recording that does not have the Caprices.

Please do let me know if you do come across one.

But guys, Locatelli himself inserted the capricci into the concertos, this is how he conceived and structured them and how he played them. The capricci are part and parcel of the concertos and taking them out makes no sense at all.

[aligreto]

Brahms: Vier Gesange Op. 17 and Sechs Quartette Op. 112 [Parkman]....

[aligreto]

But guys, Locatelli himself inserted the capricci into the concertos, this is how he conceived and structured them and how he played them. The capricci are part and parcel of the concertos and taking them out makes no sense at all.

Far be it from me to advise the belated Signore Locatelli on how to compose his music but if I had met him I would have humbly suggested the insertion of the Caprices was a misguided adventure. As showpieces they would no doubt have admirably showcased his undoubted virtuosic talent but musically they fail in this context. They detract from the uniformity and the cohesion of the works in quite a jarring way. Just my very humble opinion you know   

[Florestan]

Far be it from me to advise the belated Signore Locatelli on how to compose his music but if I had met him I would have humbly suggested the insertion of the Caprices was a misguided adventure. As showpieces they would no doubt have admirably showcased his undoubted virtuosic talent but musically they fail in this context. They detract from the uniformity and the cohesion of the works in quite a jarring way. Just my very humble opinion you know   

You can solve the problem by simply skipping them. Neither Igor Ruhadze on Brilliant nor Elisabeth Wallfisch on Hyperion cut them. 

[Karl Henning]

Great, great under-the-radar disc!

Aye; I am certain that was the first Serenade, Op.24 I ever heard, and it has been one of my very favorite Schoenberg pieces ever since!

[Madiel]

What can I say Conor has rubbed off me a bit with his Shostakovich marathon -

Marathon? He's engaged in a sprint. "Marathon" is the fact that I started with opus 1 in late January and I'm now up to opus 117. Although maybe that's better described as a long stroll...

Anyway, today is about introducing myself to Dvorak's 6th Symphony.

[asin]B00008Y4II[/asin]

Second listen just now. All good stuff, but I immediately fell for the first movement in particular, and the "2 beats in 3/4" rhythms of the Furiant.

[Obradovic]

Quip by G. Charpentier listening the first minutes of Reger's 4th violin sonata played by Reger himself, violin and Henri Marteau, piano: 'Terrible! I think Reger is playing the first movement and Marteau the last!' 

[NikF]

Schubert: Octet in F, D.803 - Wiener Oktett.

[aligreto]

Dvorak: Amid Nature and Othello Overtures [Kubelik]....





I found the performances of the Overtures far more satisfying than those of the Slavonic Dances.

[aligreto]

You can solve the problem by simply skipping them. Neither Igor Ruhadze on Brilliant nor Elisabeth Wallfisch on Hyperion cut them. 

Yes I think that I will probably end up doing that when I re-listen. I also have the Ruhadze on Brilliant. Thank you for the information on the Wallfisch performances 

[aligreto]

Marathon? He's engaged in a sprint. "Marathon" is the fact that I started with opus 1 in late January and I'm now up to opus 117. Although maybe that's better described as a long stroll...

Interesting. I have never taken that approach to any composer with all of the Listening Projects that I have undertaken.

[Madiel]

Interesting. I have never taken that approach to any composer with all of the Listening Projects that I have undertaken.

Really? Chronological is probably my most common approach. Of course, you can't rely on opus numbers to be chronological in all cases, but the information is usually readily available as to what was composed when.

Hearing the evolution of a composer's style is, for me, always an interesting exercise. I wasn't familiar with much early Shostakovich because (until I bought the symphonies this year, which was what prompted me) I didn't have much besides the string quartets. Hearing the work he created in the 1920s/30s before getting into trouble with the authorities was a real surprise.

[mc ukrneal]

Dvorak: Amid Nature and Othello Overtures [Kubelik]....





I found the performances of the Overtures far more satisfying than those of the Slavonic Dances.

Oh, I love the Slavonic Dances under Kubelik. The sound isn't as good as some, but I find them so full of energy and lively. Of course, I love the overtures too!

[Mirror Image]

Marathon? He's engaged in a sprint. "Marathon" is the fact that I started with opus 1 in late January and I'm now up to opus 117. Although maybe that's better described as a long stroll...

Hah. You're right. You're the one in a real marathon! I admire your dedication to this kind of thing. I really do.

[Mirror Image]

Hey, good stuff - great performance of that work too

Indeed. Great stuff. Haitink's Shostakovich cycle is still my favorite complete cycle.

[aligreto]

Bruckner: Symphony No. 3 [Jochum]....

[Brian]

The guitar concerto is pretty solidly my #1 favorite work by Malcolm Arnold, now. First listen to Brouwer's Retrats catalans; skipping Herbert Chappell, whom I've never heard of, unless somebody replies to say it's really good.



Later this morning:

[aligreto]

Really? Chronological is probably my most common approach. Of course, you can't rely on opus numbers to be chronological in all cases, but the information is usually readily available as to what was composed when.

Unfortunately, sometimes to my cost, I do not usually take the common approach to anything, but there you are 
What I have taken to latterly is focusing on one work by one composer and listening to all of the versions that I have in my collection. I am trying to do this at least once per month. I am currently surveying Mozart's Piano Quartets - wonderful works.