What are you listening 2 now?

[Karl Henning]

Mozart as an unabashed romantic... Love it.

Had to sell him to 20^th-c. theatre audiences!  😎

[Karl Henning]

Peter Maxwell Davies
Symphony 10
Antonio Pappano
LSO
LSC
LSO Live


Revisiting PND 10 on the back of the PMD thread.

Always interesting, always challenging, always thought-provoking.

Hadn't realized he wrote so many.

TD:

[foxandpeng]

Hadn't realized he wrote so many.

TD:

That because you are busy listening to Haydn's enormous symphonic output! No time for anything else once you get past Haydn #437 ... 😀😋

[Karl Henning]

That because you are busy listening to Haydn's enormous symphonic output! No time for anything else once you get past Haydn #437 ... 😀😋

(* chortle *)

[Karl Henning]

Had to sell him to 20^th-c. theatre audiences!  😎

And of course the conceit of Pushkin's verse drama Mozart and Salieri is ripely Romantic.

[Karl Henning]

[Traverso]

Boulez

[AnotherSpin]

Listened to it today in the car at high volume while driving from the suburbs to the city center. Absorbing.

[Mandryka]

I studied Jacob's book on orchestration and still have it in the archives!  Many thanks for the link!

Dayton classical Radio played Carl Orff's Carmina Burana this morning, the famous DGG recording with Eugen Jochum conducting and Dietrich Fischer-Dieskau singing.

I began to wonder: does anyone listen these days to Orff's later works, percussive, experimental in various ways, like his last composition, De Temporum Fine Comoedia, ?

Unfortunately, my last visits to works like Prometheus, left me shrugging again: just too much declamation, loud declamation, too little music, although the percussive aspect can be interesting, but that also becomes tedious.

The Sposa e sposa from Trionfo seems a high  point to me

It's true that there's a lot of declamation and repetition in Temporum -- but the ending -- a canon on Vor Deinen Tron -- is like something much later by Arvo Part 

[Karl Henning]

It may seem like I'm ping-ponging on YouTube, but actually I'm ping-ponging on YouTube.

[Iota]

the great theatrical moment in Peter Schafer's "Amadeus" when Salieri describes his reaction to the opening of the miraculous Adagio;

"Extraordinary! On the page it looked nothing. The beginning simple, almost comic. Just a pulse - bassoons and basset horns - like a rusty squeezebox. Then suddenly - high above it - an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight!  This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God....."

A scene from the film which will stay with me for always.

That seems to be the scene that everybody remembers most from the film, it's such a standout moment. And I find F.Murray Abraham's excellent portrayal of the tortured elderly Salieri pretty much scorches itself into the memory banks too.

[Spotted Horses]

It may seem like I'm ping-ponging on YouTube, but actually I'm ping-ponging on YouTube.

You've reminded me that I have wandered off from my plan to listen to all of the Haydn Piano Sonatas.

When my Fey et. al. set arrives I may start a Haydn Symphony Plan.

[ritter]

Messiaen's Visions de l'Amen, recorded in 1962 by the composer and his wife Yvonne Loriod. Loriod plays Cantéyodjayâ as a filler of the CD (recorded in 1958, i.e, before she became the second Mme. Messiaen).

[ritter]

And now, Ernst Krenek's String Quartets No. 3, op. 20 and No. 7, op. 96. Played by the Sonare-Quartett.

[VonStupp]

Margaret Bonds
Credo
Simon Bore the Cross
Ballad of the Brown King

Dessoff Orchestra & Choirs
Malcolm J. Merriweather

Bonds is a composer hitherto unknown to me, as are the Dessoff Choirs, who perform admirably. Methinks her Credo is the best of these three cantatas.

The texts taken from Langston Hughes and W.E.B. du Bois are a little heavy handed, but these civil-rights era composition's words fit their time period, even if the musical language is decidedly Romantic.
VS

[Lisztianwagner]

Dmitri Shostakovich
String Quartet No.15

Borodin Quartet

[foxandpeng]

HOWELLS & WOOD.
Quartets.
Herbert Howells (1892–1983) "In Gloucestershire" (Earlier Version, 1923).
From 3 Pieces for Violin and Piano Op.28 (1917).

Charles Wood (1866–1926)
String Quartet No.6 in D (1915/6).

LONDON CHAMBER ENSEMBLE QUARTET
MADELEINE MITCHELL VIOLIN, DIRECTOR, GORDON MACKAY, VIOLIN, BRIDGET CAREY VIOLA, JOSEPH SPOONER CELLO.
Recording: The Menuhin Hall, Stoke d'Abernon, 2023 (1–4, 6), 2024 (5, 7–bk)

 This recording is quite a discovery, performance and sound wise. The compositions are a little familiar to me, but I have no active memory in what form I heard it. It is much to my liking, really delightful.

Ha. Nice.

[SonicMan46]

Jose Moreno - La Guitarra Española - two disc set w/ Moreno playing 4 different instruments including viheula - Dave

[Karl Henning]

Margaret Bonds
Credo
Simon Bore the Cross
Ballad of the Brown King

Dessoff Orchestra & Choirs
Malcolm J. Merriweather

Bonds is a composer hitherto unknown to me, as are the Dessoff Choirs, who perform admirably. Methinks her Credo is the best of these three cantatas.

The texts taken from Langston Hughes and W.E.B. du Bois are a little heavy handed, but these civil-rights era composition's words fit their time period, even if the musical language is decidedly Romantic.
VS

Most interesting!

[Madiel]

A couple of LP's worth of Alicia de Larrocha playing Albeniz. The majority of which can be found on here:



These were Hispavox recordings. The majority of it is music she recorded again for Decca, but there are a couple of large-scale pieces I don't think she did again, "La Vega" and "Azulejos".

The next thing on the list will be the 1962 Iberia, which is also on this collection. I might save that for a later day though.