What are you listening 2 now?

[Brian]

112 dances in 68 minutes. Listener fatigue is a very real threat here, but Aimard takes care to vary the dance rhythms and styles so you don't get too many waltzes in a row or anything like that. He also plays sensitively, joyfully, and with clear affection for the music. I don't think this fits the stereotype of Pierre-Laurent Aimard as cool, steely perfectionist, but that surprise factor just makes it even nicer.

Leó Weiner
Serenade in F minor, op. 3
Divertimento 1 in D Major, op. 20
Divertimento 2 in A minor, op. 24
Divertimento 3 in A Major, op. 25
Divertimento 4 in G Major, op. 38
Divertimento 5 'Hungarian Impressions', op. 39
Estonian NSO - Neeme Järvi

Like listening to Kodály. Wonderful!

It reminds me I need to get around to some Mátyás Seiber recordings.
VS

Good idea, I'll join you on this album later!

[pjme]

In Brussels the finale of the Queen Elisabeth competition is in full swing. As usual, I was looking forward to discover the "imposé" , a work the 12 candidates have to learn in 8 days, isolated from the world.

https://queenelisabethcompetition.be/en/competitions-details-the-competition-rounds-seances/events/final-violin-2024/

This year Thierry Escaich wrote a set of variations "Variations litaniques".

" « The piece is inspired by the contours of an old Gregorian antiphon, Veni Sancte Spiritu. It serves as the litanic basis for an uninterrupted and increasingly rich series of variations that explore all possible forms of dialogue between violin and orchestra. Besides the references to the Gregorian tradition, we find ourselves on the borderline of various types of litanic expression, hence an at times tribal aspect that sometimes transforms into improvisations bordering on jazz or ritual dances. The near-haunting rhythmic scansion on which the work relies from the initial appearance of the percussion instruments does not prevent the emergence of colourful and timeless orchestral textures or, on the contrary, passionate declamations in which the violin seeks to extract itself from the pulsating agitation of the ensemble, or to lead the musical discourse towards greater lyricism as this long progression reaches its climax. » - Escaich

Here is a fragment. Soon a complete version will be available, I suppose.

I like it - as several other works by Escaich.

[Harry]

Doreen Carwithen.
Orchestral Works.
See back cover for the works.
Recorded in 1996, Blackheath Concert Hall, London.

A firm favourite of mine. Sound is spectacular, and the music, well the music even more.

[Spotted Horses]

With all the Faure obsessing, I forgot I was listening to these:



The second duo for violin and viola, which I had previously listened to in the Supraphon release. Again I like the BIS recording a bit more. Again, it is the slow movement that is amazing. With only two instruments you have to work hard to keep it moving, if it stops it tends to fall to earth like a flying machine. The slow movements of the two duos combine a sort of stasis with incessant movement. Brilliant.

[Dry Brett Kavanaugh]

Carmina Burana. Stoky, Houston.

[Linz]

Bruckner Symphony No. 5 in B Flat Major, 1878 Version Ed. Leopold Nowak, Osaka Philharmonic Orchestra, Takashi Asahina

[Linz]

Haydn Symphonies No. 67 in F major and Symphony No. 53 in D major "Imperial", Paul Sacher, Vienna Symphony Orchestra

[Todd]

[DavidW]

[Bachtoven]

[Linz]

Sibelius Tone Poems,  Lahti Symphony Orchestra, Osmo Vanska

[Lisztianwagner]

Arnold Schönberg
Wind Quintet

Robert Craft & New York Woodwind Quintet

[Dry Brett Kavanaugh]

Cortot.

[Brian]

Contemplating the Steinberg Command box set, so sampling a few items:

In Brussels the finale of the Queen Elisabeth competition is in full swing. As usual, I was looking forward to discover the "imposé" , a work the 12 candidates have to learn in 8 days, isolated from the world.

https://queenelisabethcompetition.be/en/competitions-details-the-competition-rounds-seances/events/final-violin-2024/

This year Thierry Escaich wrote a set of variations "Variations litaniques".

" « The piece is inspired by the contours of an old Gregorian antiphon, Veni Sancte Spiritu. It serves as the litanic basis for an uninterrupted and increasingly rich series of variations that explore all possible forms of dialogue between violin and orchestra. Besides the references to the Gregorian tradition, we find ourselves on the borderline of various types of litanic expression, hence an at times tribal aspect that sometimes transforms into improvisations bordering on jazz or ritual dances. The near-haunting rhythmic scansion on which the work relies from the initial appearance of the percussion instruments does not prevent the emergence of colourful and timeless orchestral textures or, on the contrary, passionate declamations in which the violin seeks to extract itself from the pulsating agitation of the ensemble, or to lead the musical discourse towards greater lyricism as this long progression reaches its climax. » - Escaich

Here is a fragment. Soon a complete version will be available, I suppose.

I like it - as several other works by Escaich.

Always excited for more Escaich!

[Dry Brett Kavanaugh]

Contemplating the Steinberg Command box set, so sampling a few items:



Always excited for more Escaich!

I read somewhere that Command's albums were recorded onto magnetic 35mm film. Maybe @Irons said that? I don't remember.

[Linz]

Bruckner Symphony No. 3 in D Minor, 1889 Version (aka 1888/89) Ed. Leopold Nowak,  City of Birmingham Symphony Orchestra, Andris Nelsons

[Todd]

[Brian]

I read somewhere that Command's albums were recorded onto magnetic 35mm film. Maybe @Irons said that? I don't remember.

This is true. The Verdi album sounds fairly good, but the Beethoven is quite odd - the reverb in loud passages, especially the finale, makes it sound like the orchestra is not in proper sync.

[Spotted Horses]

This is true. The Verdi album sounds fairly good, but the Beethoven is quite odd - the reverb in loud passages, especially the finale, makes it sound like the orchestra is not in proper sync.

The 35mm bit is a detraction, IMO. I always thought the Mercury recordings made on 35mm film sounded worse. And when you remaster you have a bizarro analog master that can only be played back on a weird artifact of a machine, rather than an industry standard machine.

At this point, I regret passing on the Steinberg EMI box when it was in print and cheap.

[Symphonic Addict]

Stellar performances of Janacek's endlessly fascinating quartets. This CD also includes a version of the 2nd SQ with viola d'amore.