What are you listening 2 now?

[Que]

More Italian Lamentazioni:



A recording new to me, I'm enjoying it!. Quite theatrical, Jommelli really tells a story.
The participation of Véronique Gens is a very big plus.

https://www.musicweb-international.com/classrev/2010/Nov10/Jommelli_6286282.htm

[Irons]

Yes, great performance. I have only few recordings of Fremaux though.

Have you this one?



Also a very good Saint-Saens 3rd Symphony from the same period.

[vandermolen]

Thanks for the feedback!

I haven't listened to the original 1913 version in ages, but you and I are of two different minds about it. I actually prefer the revisions, but the 1920 version seems to be my favorite of the two. From the sound of it, it seems like RVW pulled a Sibelius on this symphony with each revision getting shorter and shorter. As you know, there are many works in Sibelius' oeuvre that have been revised. Some of the most drastic ones were En Saga, The Oceanides and the 5th symphony. Anyway, he's a topic for another time!

Yes, I would love to know what, @vandermolen thinks as well.

I think that you two know more about than I do!
I think that VW went 'a revision too far' and cut out my favourite section of A London Symphony, just before the end. What did he think he was doing??!! I think that he referred to that poetic and moving section as 'like bad hymn music'. I was so glad to hear the 1920 version performed at the Proms last year. I don't listen to the 'final' 1936 version anymore as I'm acutely aware of that missing section towards the end. I'm with Bax, Boult and Bernard Herrmann who all disagreed with the cuts. Vaughan Williams was in awe of Sibelius and, on this occasion, was IMO too influenced by him. The sprawling nature of the 1913 and 1920 A London Symphony perfectly suits the sprawling nature of the city (where I grew up) which it depicts in music.

[vandermolen]

I confess that my preferred version of #2, is the 1913 with Hickox, every time 🙂. Having said that, I've really enjoyed both revisions, which are obviously a lot shorter. @vandermolen is probably your mam to talk the differences between 1920 and 1936, but the 1920 is about 10 minutes or so longer and seems denser to me.

I'm going from memory and doubtless a lack of musical knowledge, but I think the final version loses a really enjoyable viola melody from the lento, and cuts some recapitulation of earlier material in the finale. Jeffrey will more likely be able to correct that, however! There are probably other changes, but it seems to whoosh on by for me in both versions. Not bad, but I prefer 1913 all day long 😀

I have zilch technical musical knowledge but have been an avid VW fan for over 50 years and grew up with the Boult (EMI) boxed set on LP. In the booklet note for the Hickox version the late Michael Kennedy explains the changes in the different versions clearly. The 1913 version is more Mahlerian and the 1936 version is more Sibelian!

[vandermolen]

The Brabbins cycle is generally excellent. The standout performance of his cycle, for me, is A London Symphony in which Brabbins opted for the 1920 version. Perhaps you or @vandermolen can tell me what the difference is between the final revision and the 1920 version? I know the original version fairly well thanks to the Hickox recording on Chandos.

Brabbins is now my favourite complete cycle, although Boult's original Decca/Everest set is very special to me.

[Irons]

Granados: Spanish Dances - Turina: Danzas Fantasticas. Philharmonia Orchestra & Wilhelm Schuchter.

Excellent. Two conductors from the "golden age".

[Roasted Swan]

Have you this one?



Also a very good Saint-Saens 3rd Symphony from the same period.

Another cracking Fremaux/CBSO disc......



Big exciting opulent sound but Fremaux also gets the snap and crackle of Walton

[vandermolen]

Another cracking Fremaux/CBSO disc......



Big exciting opulent sound but Fremaux also gets the snap and crackle of Walton

V much agree about the Fremaux Walton disc.

TD
Back to Ben-Haim I'm now on my second listen to the first disc. Much of it is beautifully reflective music - ideal late-night listening.

[Roasted Swan]

I think that you two know more about than I do!
I think that VW went 'a revision too far' and cut out my favourite section of A London Symphony, just before the end. What did he think he was doing??!! I think that he referred to that poetic and moving section as 'like bad hymn music'. I was so glad to hear the 1920 version performed at the Proms last year. I don't listen to the 'final' 1936 version anymore as I'm acutely aware of that missing section towards the end. I'm with Bax, Boult and Bernard Herrmann who all disagreed with the cuts. Vaughan Williams was in awe of Sibelius and, on this occasion, was IMO too influenced by him. The sprawling nature of the 1913 and 1920 A London Symphony perfectly suits the sprawling nature of the city (where I grew up) which it depicts in music.

To add my two-penny's-worth;  The London Symphony is RVW's most impressionistic/programmatic score bar none.  In many of his other works he is intensely atmospheric but not programmatic - ie the literal evocation of a time/place.  Pretty much every single passage in the symphony is intended to evoke a specific scene - from the River Thames, to a City Churchyard or Covent Garden or whatever.  With each revision - although the programmatic element is clearly retained it is also diminished.  On a personal level I find the original version fascinating but too sprawling.  Like everyone else, I lived, grew up and "learnt" the work through the final 'preferred' revision and I love it to this day. 

However, my preference has become for the half-way revision which feels like the best balance of impressionism and form and as such remains completely unique within British Symphonic repertoire.  Bax's Spring Fire is really the only other work that tries to fuse these two elements - perhaps Bantock's Hebridean too although that again is more a generalised evocation of an atmosphere rather than being specifically illustrative.  My guess is that viewed from the harsher realities of the early 1930's perhaps RVW felt the earlier versions were too misty-eyed and even a bit sentimental and his final revision was a case of trying to make the work conform to the expectations of the 1930's rather than embracing and celebrating the score as originally conceived. As we are always told; Pre World War I was a very different place artistically, socially, practically.......

[vandermolen]

To add my two-penny's-worth;  The London Symphony is RVW's most impressionistic/programmatic score bar none.  In many of his other works he is intensely atmospheric but not programmatic - ie the literal evocation of a time/place.  Pretty much every single passage in the symphony is intended to evoke a specific scene - from the River Thames, to a City Churchyard or Covent Garden or whatever.  With each revision - although the programmatic element is clearly retained it is also diminished.  On a personal level I find the original version fascinating but too sprawling.  Like everyone else, I lived, grew up and "learnt" the work through the final 'preferred' revision and I love it to this day. 

However, my preference has become for the half-way revision which feels like the best balance of impressionism and form and as such remains completely unique within British Symphonic repertoire.  Bax's Spring Fire is really the only other work that tries to fuse these two elements - perhaps Bantock's Hebridean too although that again is more a generalised evocation of an atmosphere rather than being specifically illustrative.  My guess is that viewed from the harsher realities of the early 1930's perhaps RVW felt the earlier versions were too misty-eyed and even a bit sentimental and his final revision was a case of trying to make the work conform to the expectations of the 1930's rather than embracing and celebrating the score as originally conceived. As we are always told; Pre World War I was a very different place artistically, socially, practically.......

Very interesting. I was hoping/expecting that you would 'chip in'. I totally agree with your last paragraph and find the comparison with Bantock's 'Hebridean Symphony' to be enlightening.

[Traverso]

Bach

partitas  4-5-6

Gustav Leonhardt

[VonStupp]

FJ Haydn
Symphony 25 in C Major, Hob. 1:25
Symphony 26 in D minor 'Lamentation', Hob. 1:26
Symphony 27 in G Major, Hob. 1:27
Symphony 28 in A Major, Hob. 1:28
Symphony 29 in E Major, Hob. 1:29
Austro-Hungarian HO - Ádám Fischer

Some Haydn listening from this week.
VS

[Der lächelnde Schatten]

Now playing Rorem Symphony No. 2

[Harry]

"La Primavera d'amore".
I Trovatore of the 12th and 13th Century.
See for details front and back cover.
Ensemble Diabolus in Musica.
Recorded in 1997.

Many surviving minstrel songs bear witness to medieval minstrel culture, with those of the French trouvères playing a prominent role. And this recorded lets you clearly hear this.Beautiful examples of French minne song from the 12th and 13th centuries. This ensemble was unknown to me, but from  what I hear, they are experts in the field. They sound very natural. Authentic to the very core. Superb SACD sound. If you like this period, this will be a no brainer.

[Der lächelnde Schatten]

I think that you two know more about than I do!
I think that VW went 'a revision too far' and cut out my favourite section of A London Symphony, just before the end. What did he think he was doing??!! I think that he referred to that poetic and moving section as 'like bad hymn music'. I was so glad to hear the 1920 version performed at the Proms last year. I don't listen to the 'final' 1936 version anymore as I'm acutely aware of that missing section towards the end. I'm with Bax, Boult and Bernard Herrmann who all disagreed with the cuts. Vaughan Williams was in awe of Sibelius and, on this occasion, was IMO too influenced by him. The sprawling nature of the 1913 and 1920 A London Symphony perfectly suits the sprawling nature of the city (where I grew up) which it depicts in music.

I have zilch technical musical knowledge but have been an avid VW fan for over 50 years and grew up with the Boult (EMI) boxed set on LP. In the booklet note for the Hickox version the late Michael Kennedy explains the changes in the different versions clearly. The 1913 version is more Mahlerian and the 1936 version is more Sibelian!

Brabbins is now my favourite complete cycle, although Boult's original Decca/Everest set is very special to me.

To add my two-penny's-worth;  The London Symphony is RVW's most impressionistic/programmatic score bar none.  In many of his other works he is intensely atmospheric but not programmatic - ie the literal evocation of a time/place.  Pretty much every single passage in the symphony is intended to evoke a specific scene - from the River Thames, to a City Churchyard or Covent Garden or whatever.  With each revision - although the programmatic element is clearly retained it is also diminished.  On a personal level I find the original version fascinating but too sprawling.  Like everyone else, I lived, grew up and "learnt" the work through the final 'preferred' revision and I love it to this day. 

However, my preference has become for the half-way revision which feels like the best balance of impressionism and form and as such remains completely unique within British Symphonic repertoire.  Bax's Spring Fire is really the only other work that tries to fuse these two elements - perhaps Bantock's Hebridean too although that again is more a generalised evocation of an atmosphere rather than being specifically illustrative.  My guess is that viewed from the harsher realities of the early 1930's perhaps RVW felt the earlier versions were too misty-eyed and even a bit sentimental and his final revision was a case of trying to make the work conform to the expectations of the 1930's rather than embracing and celebrating the score as originally conceived. As we are always told; Pre World War I was a very different place artistically, socially, practically.......

Thanks for the feedback, @vandermolen and @Roasted Swan. I'm with @Roasted Swan in that prefer the 1920 version of A London Symphony. The comparisons of the originally-conceived A London Symphony to Bax's Spring Fire and Bantock's Hebridean Symphony are quite fascinating. It might be fun one day to listen to all three works back-to-back, which I may do sometime down the road.

Oh and @vandermolen that is quite interesting that Brabbins has become your RVW cycle of choice. My favorite is still the Previn/LSO on RCA. As far as I'm concerned, there isn't a weak link in his entire cycle. But Brabbins' performance of A London Symphony (the 1920 version) is still my favorite for this particular symphony.

[Dry Brett Kavanaugh]

Have you this one?



Also a very good Saint-Saens 3rd Symphony from the same period.

I don't have the recording. I will look for it!

[Dry Brett Kavanaugh]

Excellent. Two conductors from the "golden age".

They look nice! Too bad they are not available in digital or cd format.

[foxandpeng]

Nice!

Your suggestion, I do believe 😁

[Spotted Horses]

Returning to the Beethoven Piano Sonata Cycle, up to No 9 (Op 10, No 1), Annie Fischer



A work on a smaller scale, particularly charming central movement. Fischer always seems to find the perfect tempo and the perfect mood.

[Harry]

Ole Bull.
A Norwegian Pioneer.
See back cover for details.
Trondheim SO, Eivind Aadland,
Recorded: 2006.

An entertaining program, hovering between cantabile and bravura, performed with solid brilliance, and insight. Ole Bull was a better composer as some might think, and these short pieces prove that abundantly. Well must it be noted Arve Tellefsen, is too closely recorded, so be aware of this while starting the music. However if you control the volume it fits. The recording is clear and detailed. The performance under Aadland is perfectly executed.