What are you listening 2 now?

[Wanderer]

[Traverso]

Er ist ein guter Kerl. 

ja ja....."das kann man wohl sagen" 

[Harry]

Johann Gottlieb Graun – Trio Sonatas

Trio for Violin & Fortepiano in A major, Graun WV c: XV: 90.

Trio for Violin & Fortepiano in A major, Graun WV A: XV: 13.

Trio for Violin & Fortepiano in B minor, Graun WV c: XV: 92.

Trio for Viola & Fortepiano in B-flat major, Graun WV A: XV: 16.

Les Amis de Philippe – Ludger Rémy, direction & Fortepiano.
Recorded 2008, Sendesaal Bremen (Radio Bremen)
See back cover for further details.

As is often the case with the Brothers Graun — Johann Gottlieb and Carl Heinrich — questions of authorship linger. But in the end, such matters become almost academic when the music itself speaks with such elegance and refinement. These Trio Sonatas, regardless of which brother penned them, are a testament to a compositional voice that was sophisticated, inventive, and never intended for casual amateurs. Les Amis de Philippe once again demonstrate their mastery of this repertoire. I have yet to encounter a recording by them that falls below their consistently high standard — and that's no small praise. The ensemble interplay is deeply refined, marked by conversational fluency, poised phrasing, and a tangible sense of shared purpose.
The decision to use a fortepiano rather than a harpsichord proves inspired — not only historically appropriate for the transitional style of this mid-18th-century music, but also musically rewarding. The fortepiano allows for subtler dynamics and clearer dialogue with the strings, giving the works a fluidity and modernity that may surprise some people. There is real sparkle here — finely drawn lines, gracefully shaped ornamentation, and harmony that unfolds with natural warmth and charm. The recording supports this with clarity and intimacy, capturing the instruments with just enough air around them to evoke the spirit of a private chamber concert.

Note:
As for my own system — still settling in, of course. I continue to log hours on the new equipment, and though it hasn't fully arrived at its final state, the signs are promising. Chamber music such as this is a generous companion for that process: refined, articulate, and rewarding at every level of listening.

[Traverso]

BIBER

The Rosary Sonatas

CD 1

[vandermolen]

Godfried Devreese: Symphony No.1 'Gothic Symphony'
A fine, oddly moving work as is 'In Memoriam'.
PS It seems to be from 1940 which might explain the heroic/defiant (at times tone):

[vandermolen]

Sessions: Symphony No. 2
Lopes-Graça: Symphony

Sessions's 2nd belongs to his more approachable style before the composer turned to a serialist/twelve-tone aesthetics. A gritty, tasty piece. The 4th movement has a vibe that brought Roussel's 3rd Symphony to mind.

The only symphony that the Portuguese composer Fernando Lopes-Graça wrote is a flat out masterpiece and I dare to say it's [quite probably] better than the ones by his compatriots Braga Santos and Freitas Branco. I did know that it is quite good, but today I confirmed its superb qualities. Recommended.

Totally agree about Lopes-Graca!

[Wanderer]

[Mister Sharpe]

I've gone too long without listening to some Bax, my second-favorite composer. I'll start with a work, In Memoriam,  that just overwhelms me, so emotionally-charged is it, and I sure wish it had the acceptance, the popular status, say, of a tear-inducing Rachmaninoff piece.  Wishes and fishes.  Extensive background to this compelling work here:  https://www.arnoldbax.com/the-background-to-in-memoriam/

[brewski]

Steve Heitzeg: Death Suite for Jackie O (2025) (Clara Osowski & Casey Rafn, recorded January 2025)

[VonStupp]

Jean Sibelius
Lemminkäinen Suite, op. 22
Gothenburg SO - Neeme Järvi

I don't think I had heard the four-movement symphonic suite the Swan of Tuonela came from before now.
VS

[Harry]

Michael Haydn – Symphonies P.6, 9, 16, 26, 32
London Mozart Players – Matthias Bamert
Recorded: 1994, St. Jude's Church, London (Chandos)

Michael Haydn, the younger brother of Joseph Haydn, spent much of his career in Salzburg, where his sacred and instrumental works were highly regarded—Mozart himself reportedly admired his compositions. Though his music never reached the same heights of innovation as his brother's, it offers elegance, clarity, and a gentle melodic charm, particularly when given the right interpretative care.
Unfortunately, this release falls short of bringing out those qualities. Matthias Bamert, during his long and prolific association with Chandos, recorded a wide array of works—many of them by lesser-known composers—which garnered polite success rather than enthusiastic acclaim. This disc is a good example of the limitations of that approach. Tempi are unhurried, even bordering on sluggish; the interpretations feel almost too comfortable, too safe. The London Mozart Players, playing on modern instruments, sound clean but lack energy or inner tension. There's little to no expressive shaping—phrases often land with a thud rather than a flourish. The overall effect is one of matter-of-fact execution, with not much emotional or dynamic range.
The recording itself doesn't help. Despite Chandos's general reputation for high production standards, this one suffers from a slightly muffled acoustic. The sound lacks air and spaciousness, detail is soft around the edges, and the imaging feels flat. A shame, because with more vivid engineering and interpretive boldness, this music could sparkle far more.
Still, if you set expectations modestly, there's a certain charm to be found. This is undemanding listening, and perhaps that's enough—for late evening unwinding or drifting off with pleasant harmonies in the background. Just don't expect revelations.

[Dry Brett Kavanaugh]

Handel Suites. Asako Ogawa.

[André]

Very Kaiserlich-und-Koeniglich, ain't it?

Looks more like a Mad Scientist to me ! 😁

[Harry]

Carl Philipp Emanuel Bach – Flute Quartets, Wq. 93–95
+Adagio from Sonata No. 48, No. 6; Andante con Tenerezza from Sonata No. 65, No. 32.
Performed by Nevermind.
See back cover for details.
Recorded 2020, Rosario, Bever (Belgium)

Wow — this is one of those rare moments when the window of recorded sound flies wide open and quite literally blows you out of your socks. What I hear here is not just excellent reproduction, but an almost spiritual synergy between music, performers, instruments, and recording space. This is state-of-the-art sound with an extra gleam. The internal balance is flawless, the placement of each voice natural, as if the performers were right in front of you, live. There's air, depth, and above all, that elusive connection between music and humanity.
The flute has a rounded, velvet tone, neither shrill nor thin, but perfectly voiced in its warmth — a copy by Jean-Jacques Melzer of a historical instrument by Carlo Palanca. It sings without strain. The harpsichord, built by Jonte Knif & Arno Pelto (2006) after German models, sprinkles the music with detail so refined, so delicate, that it quite took my breath away. The viola and cello add a rich harmonic foundation without ever intruding — every note feels placed with intention.
Nevermind — a name I had not encountered before — deserves full credit for this miracle of ensemble playing. Their 2020 recording of these works is not just a success; it is a milestone in their artistic journey. I've never heard these quartets presented with such insight, character, and sheer beauty.
The three quartets were composed in 1788, the year of C.P.E. Bach's death — astonishing, lyrical works that show no fading of invention or spirit. Commissioned by the harpsichordist and patron Sara Levy (later the great-aunt of Felix Mendelssohn), these pieces transcend form. Here, the number of parts mattered more than instrumentation; Bach's chamber music speaks with the eloquence of a farewell and the grace of a master still at the height of his powers.

What follows after this revelation, I don't know. But if you think I exaggerate — stone me. I wouldn't mind. Not after this. 😄

[André]

When adventurous, unusual programming is as successful as this, it has to be applauded.

There's of course no direct link between the two composers, but consider this: Bach's sonatas are quite similar in cast (type of movements and timing), timbral/instrumental balance and overall effect. They are pleasant but not particularly distinctive. When played in sequence, as they always are when recorded on the same disc, they tend to lose their individuality. A mega suite of 11 movements of some 42 minutes' duration.

Here they are separated by slow, pensive, soft dynamic pieces for piano and cello. Solo or in combination. Their presence acts as an aural palate cleanser. The Bach sonatas have time to be heard and 'digested' while the other pieces are played. Their very classical, noble sound world becomes more individual by being set against Kurtag's ethereal, pure-sounding ruminations.

Excellent playing by this fine ensemble. I totally enjoyed their Mendelssohn sonatas disc, works that do not benefit from being heard in succession (blurs their individuality). That pitfall is neatly avoided here. Intelligent programming.

[Brian]

On MDG's house 1901 piano, Karl-Andreas Kolly plays a selection of Mendelssohn works directly inspired by Bach. This includes several of the preludes and fugues Op. 35, as well as a few of Mendelssohn's organ sonatas, arranged for piano by Kolly himself.

[Harry]

I played this box several times up and down, and think its really worth the money.

CD 1 "Dialoghi Venetiani" - instrumental music by Scarrani, Picchi, Marini, Kapsberger, Cavalli, Castello, Uccellini, Monteverdi, Merula
CD 2 "Per la Settimana Santa" - works by Grandi, Turini, Cima, Salvatore, Sances, Marini, Mazzocchi, Banchieri, Monteverdi, Graziani, Grancini.
CD 3 "Biagio Marini - Modern E Curiose Inventioni" - Canzone, Sonatas & Madrigals.
CD 4 "Dario Castello - In Stil Moderno" - sonatas & motets.
CD 5 "Per il Santissimo Natale" - Pastorals by Donati, Cazzati, Monteverdi, Banchieri, Storace, Cifra, Tarditi, Picchi, Scarani, Merula, Fiamengo, Frescobaldi, Rigatti.
CD 6 "Il Canzoniere" - song collection with Petrarch settings by Gagliano, Rossi, Landi, Monteverdi, Peri, Merula, d'India, Riccio, Pesenti, Trabacci, Lambardi, Borboni, Bassani.
CD 7 "Concerto Imperiale" - music for the imperial court by Buonamente, Castello, Priuli, Ferra, Pesenti, Neri, Monteverdi.

[AnotherSpin]

Perhaps I've listened to Sibelius's Second Symphony in more different interpretations than any other symphony. Vänskä's versions are among the most interesting, in my view.

[Karl Henning]

I played this box several times up and down, and think its really worth the money.

CD 1 "Dialoghi Venetiani" - Instrumental music von Scarrani, Picchi, Marini, Kapsberger, Cavalli, Castello, Uccellini, Monteverdi, Merula

+CD 2 "Per la Settimana Santa" - Works from Grandi, Turini, Cima, Salvatore, Sances, Marini, Mazzocchi, Banchieri, Monteverdi, Graziani, Grancini

+CD 3 "Biagio Marini - Moderne E Curiose Inventioni" - Canzone, Sonaten & Madrigale

+CD 4 "Dario Castello - In Stil Moderno" - Sonatas & Motets

+CD 5 "Per il Santissimo Natale" - Pastorals by Donati, Cazzati, Monteverdi, Banchieri, Storace, Cifra, Tarditi, Picchi, Scarani, Merula, Fiamengo, Frescobaldi, Rigatti

+CD 6 "Il Canzoniere" - Songs with Petrarca-Interpretations von Gagliano, Rossi, Landi, Monteverdi, Peri, Merula, d'India, Riccio, Pesenti, Trabacci, Lambardi, Borboni, Bassani

+CD 7 "Concerto Imperiale" - Music by Buonamente, Castello,, Priuli, Ferra, Pesenti, Neri, Monteverdi

Nice!

[Karl Henning]

On MDG's house 1901 piano, Karl-Andreas Kolly plays a selection of Mendelssohn works directly inspired by Bach. This includes several of the preludes and fugues Op. 35, as well as a few of Mendelssohn's organ sonatas, arranged for piano by Kolly himself.

Sounds lovely!