What are you listening 2 now?

[Henk]

All he will have sacrificed is a second listening. It's understood that it may still not float his boat.

But doesn't this mean that for all it's advisable to give a composer or a work a second chance or listen, not alone that, but even a duty? Maybe you are right.

[DavidW]

Exceptional 2nd and 5th, one of the greats!


And the 15th SQ, the elegy is so melancholic!

[foxandpeng]

You'll probably be interested in his English language Mass, and there's a concertante work for piano recorded by John Ogdon.
I have the Mass as part of the Chamber Symphony of Philadelphia/Anshel Brusilow set, so it's probably streamable somewhere. Probably the Ogdon too since it should be part of the Warner Berglund set.

And there's the BIS CD I posted earlier today in this thread.

Thank-you!

[Symphonic Addict]

Two violin sonatas and two miscellaneous pieces. Beautiful music, beautifully played. All of these works don't feature strong melodies, but abundant lyricism that is both understated and passionate by turns. The Violin Sonata No. 1 in B minor has a magnificent slow movement. This composer is more interesting than I had thought.

[AnotherSpin]

Op. 106

[Karl Henning]

But doesn't this mean that for all it's advisable to give a composer or a work a second chance or listen, not alone that, but even a duty? Maybe you are right.

No composer gets it right all the time, perhaps, and what if the only time I listen to music by N. it's a dud?

[Henk]

No composer gets it right all the time, perhaps, and what if the only time I listen to music by N. it's a dud?

I don't follow what you're saying. Can you try to say it again in different terms?

[Karl Henning]

I don't follow what you're saying. Can you try to say it again in different terms?

For instance, say the only piece by Beethoven I've heard is Wellington's Victory, generally regarded as his poorest effort? I hear a weak piece, and it gives me an unflattering impression of the composer. I should give old Ludwig van another try.

[Dry Brett Kavanaugh]

For instance, say the only piece by Beethoven I've heard is Wellington's Victory, generally regarded as his poorest effort? I hear a weak piece, and it gives me an unflattering impression of the composer. I should give old Ludwig van another try.

I don't care Felix Mendelssohn's orchestral works, and when I listened to his piano works I was surprised and I loved them.

[Symphonic Addict]

Salmanov: Symphony No. 2

Yet another symphony cycle that cries out for a modern recording.

[Henk]

For instance, say the only piece by Beethoven I've heard is Wellington's Victory, generally regarded as his poorest effort? I hear a weak piece, and it gives me an unflattering impression of the composer. I should give old Ludwig van another try.

'Should' in terms of 'must' also for others or in terms of personal value?

I'm just interested. What kind of morality are we talking about? Something like group behaviour, prescriptions some of us take as normal behaviour or something more demanding perhaps?

Now consider I heard a work of B which is generally regarded as among his best efforts and I don't like it all. Should I give it another try? (or maybe I would judge Wellington's Victory a masterpiece after hearing which opportunity would be lost if I would give up on him.) Can we as a GMG community agree to this as a general principle of discipline or something like that? Where do we stand?

I'm still refering to your reply to Brian and my reply to that:

I always remember that I didn't much connect with the symphonies of Nielsen or Vaughan Williams, the first time I listened. Strange as that strikes me now.

Can count for you not for others. You might force Brian into relistening to something against his nature. 

I would say anyone may do as he pleases. I guess you agree but it doesn't follow from the discussion as I interpret. Or is the intention to get to common understanding without anything like discipline implied? In other words 'converse' not 'argue '. Where is the boundary between them. Can't there be something implicit in conversing that amounts to arguing? How do we know? Should we care about that?

[JBS]

Number 48 in C major "Maria Theresia"
Number 44 in e minor "Mourning"

CD 4 of

[Mandryka]

I don't think Zacher's own playing is a matter of great concern. I'm more annoyed by his endlessness of some of the canons.

I didn't keep the booklet but I vaguely recall he talks about leaving the canons in the air, as if they're asking a question. I like the performance very much, and I don't have a problem with the way he ends the canons.

[Irons]

Rootham: Symphony No.1.



Every Tom, Dick and Harry of English music gets a mention in Frank Howes book The English Musical Renaissance, Rootham doesn't. Makes no sense to me!

[Traverso]

Pavana / The Virgin Harpsichord

What to say about this recording,the music is excellent,the playing is vivid and full of joy.





https://oudemuziek.nl/tournees/tournees-20242025/tournees2425-skip-sempe/

[Que]

Rerun:



These songs show a very different side of Johannes Ockeghem, who is (was) primarily known for his technically very complicated masses.

[Mandryka]

Op. 106

Just a thought - have you heard HJ Lim's op 106? Divisive hence interesting.

[Traverso]

Brahms



Especially for the delightful Handel Variations and Ballades.
For me, the Handel variations are pieces with which I feel intimately connected from the first notes.

CD 1

Variations on a theme Paganini & Handel
4 Ballades

[AnotherSpin]

Just a thought - have you heard HJ Lim's op 106? Divisive hence interesting.

Yes, tried a few weeks ago. Stopped at some point before I got to the end. Didn't work for me at the moment, maybe another time, who knows.

[Traverso]

Buxtehude