What are you listening 2 now?

[hopefullytrusting]

Was originally looking to hear from the composer who won the first Prix de Rome, Albert Androt, but I didn't find anything on YouTube, Presto, or Discogs, so I went to the Wikipedia page, and clicked on the composer he trained under, I've not heard of either, Pietro Alessandro Guglielmi, and YouTube has plenty of his material, so I selected his Op. 1, as I try to do always when listening to a composer I've never heard of before.

His Op.1 was his Quartetto in sol maggiore: https://www.youtube.com/watch?v=vyinOHSsHfw

Composed in 1768, it sounds, unsurprisingly, of the time - the harpsichord is the dominant, driving force, while the strings on there to act as accoutrement and ground. This is a courtly-style of music, and one that is most definitely not my bag - it is one of the reasons I find Handel off-putting - for me, I find this kind of music othering, even if that was not the intended effect, as it was clear that this music was not designed with me as an audience member in mind, which is not a requirement, but I don't think anyone wants to be where they're not wanted, and I am most definitely not wanted in the court.

The music is expertly played, and the interplay is intricate and rich - there is nothing fundamentally wrong with the music other than I don't like the style, but this would apply to all composers of this type.

In short, if you like the court-style, then I'd recommend this. Otherwise, no.

[Papy Oli]

LvB
Op.18/2

Quatuor Mosaïques

Gorgeous!!

18/3 to wrap up the night. 

[JBS]

as it was clear that this music was not designed with me as an audience member in mind, which is not a requirement, but I don't think anyone wants to be where they're not wanted, and I am most definitely not wanted in the court.

Don't be too sure of that. At that point the Chevalier de Saint-Georges was apparently serving as a member of the Royal Household, and a few years later (1773) was appointed conductor of Le Concert des Amateurs.

TD


The Kremerata Baltica with the Winds of the Staatskapelle Dresden in the Second Concerto, Tobias Willner as trumpet soloist in the First Concerto, and Omar Meir Wellber conducting the Second Concerto. (No conductor is named for the First Concerto.)

The CD includes the Concertino and Tarantella for Two Pianos, Ivan Rudin being the second pianist.

[André]

A classic. Sung parts only, no dialogue. Not very important for such a well known work. This is Klemperer's Magic Flute. Perfect pacing, great clarity, superbly pointed playing from the Philharmonia winds and strings.

As for the sound: I had it on LP before (superior quality french pressing with deluxe booklet) and it sounded perfect. This CD is a 2016 remastering and it doesn't have the bloom and clarity of the LP. There's even some peaking on loud high notes from the ladies that I'd never known was there. Not exactly an improvement, then.

[hopefullytrusting]

Don't be too sure of that. At that point the Chevalier de Saint-Georges was apparently serving as a member of the Royal Household, and a few years later (1773) was appointed conductor of Le Concert des Amateurs.

I like that, in this scenario, I am equal to Chevalier.

[Karl Henning]

Do I detect a very faint hint of vanity here ? 🤪

(* chortle *)

[steve ridgway]

Maderna - Giardino Religioso

[brewski]

After stellar work in Handel and Jehan Alain, organist Thomas Ospital returns with one for the ages, an arrangement of the Scherzo from Bruckner's Seventh Symphony. The orchestra — WDR with Marie Jacquot — performed the Bruckner after intermission. Inspired.

Here is Ospital, at about the 31' mark:

[steve ridgway]

Szymanowski - Symphony No. 3, 'Song Of The Night'

[steve ridgway]

Maderna - Quadrivium For Four Percussionists And Four Orchestral Groups

[hopefullytrusting]

Okay, I didn't think I could ever have a favorite organ; I was wrong.

[AnotherSpin]

My comment was directed mostly to the first disc of the album, which contains some of Buxtehude's most beautiful works. And the interpretation they get, obviously.

Buxtehude's vocal music is quite different from Telemann's, and totally different from Bach's. Buxtehude's vocal writing displays a sensuality, a love of the human voice that rivals Monteverdi's or Palestrina's. His melodic lines have a radiance and suppleness that would re-emerge with Handel, Mozart and Strauss.

The Ricercar disc is particularly fine in bringing out the subtlety and colours of the harmonies. The instrumental ensemble supports the singers beautifully and the soloists are totally invested in the music.

Herr ich lasse dich nicht and Ich suchte des Nachts are good starting points. Buxtehude makes the german language sound melodious and sensuous - no mean feat indeed.

Thank you. I usually try not to compare the work of different composers, but as a beginner I still lean on familiar reference points. So here are a few thoughts on Buxtehude's Kantaten in this Ricercar Consort album and how they sit next to Bach's.

Buxtehude's pieces feel more exploratory. They are shorter, a bit freer in shape, and often mix different types of writing in a way that seems dramatic and touched by the Italian style of his time. Bach's cantatas, by contrast, come across as fully formed creations, larger in scale and far more carefully built, with a sense of depth that grows the more you listen.

In emotional terms, Buxtehude strikes me as vivid and sometimes quite raw. There is a directness in how he sets a mood. Bach tends to draw you inward. His writing feels more thoughtful and balanced, as if he were always weighing feeling against clarity.

The voices also behave differently. With Buxtehude, the singers often stand out like soloists and trade phrases closely with the instruments. Bach brings everyone together. The chorales sit at the centre of the music, and even the solo movements feel more lyrical than dramatic.

The sound worlds are distinct as well. Buxtehude uses a more intimate palette with viols, recorders, and the odd cornett, which gives his music a gentle, almost chamber-like colour. Bach works with a fuller orchestra that includes oboes, trumpets, and a strong string section, so the whole thing has a broader sweep.

Harmonically, Buxtehude sometimes reaches for striking clashes and twists that hint at what is to come. Bach then takes that vocabulary and brings it to its highest point with the kind of clarity and structure that define his music.

On the spiritual side, Buxtehude gives the impression of personal devotion and a touch of Lutheran mysticism. Bach feels more like a structured meditation on faith, almost a sermon in musical form.

All in all, I would say that Buxtehude has a wilder, more spontaneous character, with something theatrical in an Italian vein. Bach is more refined and profound. If Buxtehude shows you the roots, Bach gives you the full bloom.

I am planning to explore more of Buxtehude's vocal music and have already marked quite a few albums on Qobuz. I will report back on any discoveries and hope there will be some good ones.

[Madiel]

My latest attempt to choose a Faure Requiem for my collection, currently focused on two candidates. This is one.

[Que]

Morning listening:



A personal favourite.

https://www.classicstoday.com/review/review-8359/

https://www.musica-dei-donum.org/cd_reviews/Harmoniamundi_HMU907297.html

[Que]

     

One of my favorites from the Decca set (actually Philips recordings).

Thank you. I usually try not to compare the work of different composers, but as a beginner I still lean on familiar reference points. So here are a few thoughts on Buxtehude's Kantaten in this Ricercar Consort album and how they sit next to Bach's.

Nice write up!

[Iota]

Maderna - Giardino Religioso

Thanks for posting, I hadn't heard that before. An absolute beauty!

[Madiel]

Faure Requiem number two



Consuming the local product. And enjoying it.

[Que]

These are songs in Spanish (style) from the French royal court of Louis XIII, and songs in French style from the Spanish court of Philips V. Not mentioned on the cover is the participation of mezzo soprano Dagmar Šašková.

[Madiel]

Mozart: String quartet No.23 in F, K.590

[Traverso]

Bach

It's good to see this box passing by again