Topic: What are you listening 2 now?

[k a rl h e nn i ng]

Maiden-Listen Monday!

Suk
A Summer's Tale, Op. 29
Royal Liverpool Philharmonic
Pešek

[k a rl h e nn i ng]

The Requiem.

There’s no mention anywhere that these recordings have been remastered. They date back 1949-1961. Most are in stereo, as is the case here. This was taped in Symphony Hall in April 1959, all of 60 years ago. Much to my surprise the sound is very, very good. Uncluttered, with well-spaced stereo, no peaking, no distortion, no fizz, no hiss, no pre-echo. There is a nice spatial spread to the voices: basses and sopranos to the left, mezzos and tenors to the right. Very easy to follow the choral lines. Of course the dynamic range may be slightly less wide than on more modern recordings, but in all conscience I can only say that, as a recording, this is very successful. So far I had this only as a download transferred onto cdr, so no match for this fine product.

Munch’s interpretation is legendary, and justly so. I also have his later BRSO recording, a rather different kind of interpretation. In Boston he is on home turf, working with his own orchestra and the well-honed New England Conservatory Chorus and its fabulous director Lorna Cooke de Varon. Collectively they could start working on fine points of expression instead of going through the more lengthy and arduous process of starting from scratch. This is a very intense interpretation, extraordinarily focused, unfurling at what seems a quite steady pace. Munch’s Offertory is an urgent plea, with beautiful wind curls. In all the other movements he leans slightly on the slower side of average.

The participation of Léopold Simoneau in the Sanctus has always been praised to the skies and rightly so. This is a hugely difficult solo. The top of the voice must sound honeyed, sweet and utterly free of any strain. In the Book of Isaiah the words of the Sanctus are thundered forth by a bunch of six-winged seraphims whose voice move the foundations of heaven. Not exactly what Berlioz offers ! No matter, this is a moment of pure beauty and I wouldn’t want it any different.

Colin Davis recorded the work multiple times (4 or more) and I still consider his first, LSO recording as the most formidable of all. Munch’s BRSO account is almost as good as the Boston, except for his tenor and the last degree of passion in the playing. McCreesh is a spine tingling affair, dramatic in the extreme. Still, this BSO version retains my affection and I simply can’t find anything to detract from my enjoyment.

Nice!

[Traverso]

Lully

[k a rl h e nn i ng]

Ah, splendid, splendid. Even though it is somewhat austere, I really like that set a lot!

For me:

Aye. The austerity notwithstanding, a wonderful project!

[Roasted Swan]

The Requiem.

There’s no mention anywhere that these recordings have been remastered. They date back 1949-1961. Most are in stereo, as is the case here. This was taped in Symphony Hall in April 1959, all of 60 years ago. Much to my surprise the sound is very, very good. Uncluttered, with well-spaced stereo, no peaking, no distortion, no fizz, no hiss, no pre-echo. There is a nice spatial spread to the voices: basses and sopranos to the left, mezzos and tenors to the right. Very easy to follow the choral lines. Of course the dynamic range may be slightly less wide than on more modern recordings, but in all conscience I can only say that, as a recording, this is very successful. So far I had this only as a download transferred onto cdr, so no match for this fine product.

Munch’s interpretation is legendary, and justly so. I also have his later BRSO recording, a rather different kind of interpretation. In Boston he is on home turf, working with his own orchestra and the well-honed New England Conservatory Chorus and its fabulous director Lorna Cooke de Varon. Collectively they could start working on fine points of expression instead of going through the more lengthy and arduous process of starting from scratch. This is a very intense interpretation, extraordinarily focused, unfurling at what seems a quite steady pace. Munch’s Offertory is an urgent plea, with beautiful wind curls. In all the other movements he leans slightly on the slower side of average.

The participation of Léopold Simoneau in the Sanctus has always been praised to the skies and rightly so. This is a hugely difficult solo. The top of the voice must sound honeyed, sweet and utterly free of any strain. In the Book of Isaiah the words of the Sanctus are thundered forth by a bunch of six-winged seraphims whose voice move the foundations of heaven. Not exactly what Berlioz offers ! No matter, this is a moment of pure beauty and I wouldn’t want it any different.

Colin Davis recorded the work multiple times (4 or more) and I still consider his first, LSO recording as the most formidable of all. Munch’s BRSO account is almost as good as the Boston, except for his tenor and the last degree of passion in the playing. McCreesh is a spine tingling affair, dramatic in the extreme. Still, this BSO version retains my affection and I simply can’t find anything to detract from my enjoyment.

another excellent overview Andre!

[Toccata and Fugue]

This wonderful set arrived today. The music really breathes under his fingers, and he's not afraid of using some pedal. It includes pocket facsimile scores. The only downside is the boxes are too large to fit on my CD shelves! I'll have find an alternative place to store them. High to praise to Amazon seller "musicexport-us", who is based in Greece and got this set to me via DHL in less than a week!

[Daverz]

Maiden-Listen Monday!

Suk
A Summer's Tale, Op. 29
Royal Liverpool Philharmonic
Pešek

Missing Summer already?

TD: Lutosławski: Symphony No. 1

Love these ultra-vivid old CBS recordings, though they may have been swallowed up by Sony by the time Symphony No. 1 was recorded.

OOPS: Symphony No. 1 was recorded in 2012. Kudos to the engineers for making it sound like an old CBS recording from the late 80s. 

[k a rl h e nn i ng]

Missing Summer already?

Not in today's warmth....

And now:

Tchaikovsky Quartets

The Keller Quartet

[SimonNZ]

on the radio:

Elgar's Sea Pictures - Baker, Barbirolli

[Daverz]

Not in today's warmth....

And now:

Tchaikovsky Quartets

The Keller Quartet

It's just slightly warm-these-old-bones hot here in inland Southern California.  That's the high 80s Fahrenheit for you young folks.

TD: Mozart Piano Concerto No. 20, K466

[vers la flamme]

Johann Sebastian Bach: Goldberg Variations, BWV 988. Murray Perahia. A great performance in my opinion, though I can see why others may not like it as much.

First post in the new thread... o.0

[Iota]

This wonderful set arrived today. The music really breathes under his fingers ..

Indeed, I *really* like what I've heard of that set, honest words spoken quietly from the heart (or so they seem to these ears), glorious stuff!

Playing here:



Brahms Symphony No.3

.. which feels like a eulogy to benevolence in Nelsons' hands ... though obviously Brahms' hands had quite a bit to do with it also .. anywaze, high five to both, for a truly lovely disc!

[Madiel]

Sonata no.11 in B flat, op.22



Very satisfied with my purchasing decision so far.

[Christo]

[j winter]

Why no, I've never bought a recording based on the album cover, what a remarkably shallow thing to suggest.  I am offended, deeply offended I say...

[Daverz]

Why no, I've never bought a recording based on the album cover, what a remarkably shallow thing to suggest.  I am offended, deeply offended I say...

I wouldn't buy that based on the cover...



...I'd buy it for the booklet photos...

[Alek Hidell]

From Anne-Sophie to Herr Hindemith - sorry, guys ...



Continuing this, and enjoying the second half of it more: the music more colorful and varied (or so I hear it).

[JBS]

From the Naxos early music set

Firsr impression: Christie does a very good job.

[Daverz]

Magical stuff!  If you distilled the most magical moments from Ravel, Debussy, Roussel and Faure, you'd probably end up with Jean Cras.

Qobuz has the CD booklet available to read online, but unless there's a second booklet, there are no texs or translations of the words to La Flûte de Pan.

[ChopinBroccoli]

From Anne-Sophie to Herr Hindemith - sorry, guys ...



Continuing this, and enjoying the second half of it more: the music more colorful and varied (or so I hear it).

This has nothing to do with anything but I just wanted to point out that the quote in your sig is one of my favorites