What are you listening 2 now?

[Biffo]

Symphony no 5, Egmont (overture and vocal selections), Grosse Fuge.

Contrary to his Brahms and Bruckner (full textures and sometimes very slow tempi), Nagano's Beethoven is combative, fleet, nervous, with sudden rather than progressive fortissimos. Dynamics are very wide, vibrato sparely used, timpani unusually prominent. 34 minutes with all repeats, including the rarely observed one in the third movement scherzo, make it one of the fastest on disc. I love it.

In Beethoven's day his symphonies were often buried in ultra long programmes, so their stature was put in a different perspective. Nowadays the 5th is played alone in the second part of a concert, held aloft like an icon or a monstrance for all to look at with reverence. Nagano will have none of that. This fifth is lean, feline, ready to pounce at the slightest provocation. I find it very refreshing. Particular attention is paid to wind lines (an arresting oboe solo in I, piccolo and bassoon in IV), the timpani part is fulminant when called for. I'd say this conception is the opposite of those offered by Bernstein, Böhm, Klemperer and the like.

The Egmont bits are excellently done. Adrienne Pieczonka is very good, although she is no Nilsson or Janowitz. The distant snare drum in Die Trommel gerühret is perfectly placed in the sound picture - a nice touch. The Grosse Fuge is played last, a stern monolith staring us down.

I think this is a cycle to explore on Spotify if it is available. I have more Beethoven symphony cycles (partial and complete) than any sane person ought to possess though not as many as some other contributors. This one sounds interesting.

[Papy Oli]

More Satie.

[Mirror Image]

NP:

Copland
Symphony No. 3
Three Latin American Sketches
Detroit SO
Slatkin

[Florestan]

Symphony no 5, Egmont (overture and vocal selections), Grosse Fuge.

Contrary to his Brahms and Bruckner (full textures and sometimes very slow tempi), Nagano's Beethoven is combative, fleet, nervous, with sudden rather than progressive fortissimos. Dynamics are very wide, vibrato sparely used, timpani unusually prominent. 34 minutes with all repeats, including the rarely observed one in the third movement scherzo, make it one of the fastest on disc. I love it.

In Beethoven's day his symphonies were often buried in ultra long programmes, so their stature was put in a different perspective. Nowadays the 5th is played alone in the second part of a concert, held aloft like an icon or a monstrance for all to look at with reverence. Nagano will have none of that. This fifth is lean, feline, ready to pounce at the slightest provocation. I find it very refreshing. Particular attention is paid to wind lines (an arresting oboe solo in I, piccolo and bassoon in IV), the timpani part is fulminant when called for. I'd say this conception is the opposite of those offered by Bernstein, Böhm, Klemperer and the like.

Looks like something I'd enjoy very much. I need to hear it. Thanks for the tip, Andre!

Is this a consistent approach to the other symphonies as well?

[vandermolen]

Villa Lobos: Symphony 10 'Ameríndia'
A most powerful, atmospheric, inspiriting and engaging symphony for orchestra with baritone and chorus.
Never heard it before - my thanks to John (MI):

[vandermolen]

NP:

Copland
Symphony No. 3
Three Latin American Sketches
Detroit SO
Slatkin

That's a fine recording - the first with the restored original ending I think.

[vandermolen]

One fine disc!

+1

I tend to like Judd's NZSO recordings (Lilburn symphonies, Bridge 'The Sea', Bernstein 'Jeremiah Symphony' for example).

[Mirror Image]

Villa Lobos: Symphony 10 'Ameríndia'
A most powerful, atmospheric, inspiriting and engaging symphony for orchestra with baritone and chorus.
Never heard it before - my thanks to John (MI):

Pounds the table! Love it!

[Mirror Image]

That's a fine recording - the first with the restored original ending I think.

I concur, Jeffrey. Honestly, I don't really notice much difference between the restored or the edited versions of this symphony. Anyway, a superb performance of one of my favorite symphonies.

[vandermolen]

Pounds the table! Love it!

[vandermolen]

I concur, Jeffrey. Honestly, I don't really notice much difference between the restored or the edited versions of this symphony. Anyway, a superb performance of one of my favorite symphonies.

I prefer the original ending, although not everyone here does. However, if I now hear the revised version I miss the original ending (as I do with Vaughan Williams's 'A London Symphony').

[Mirror Image]

I prefer the original ending, although not everyone here does. However, if I now hear the revised version I miss the original ending (as I do with Vaughan Williams's 'A London Symphony').

Honestly, I haven't really compared the revised or the original endings. I should probably do that at some point.

[Symphonic Addict]

Yet another case where each work seems better than the previous one. Three highly interesting quartets, above all the No. 3. Lots of attractive gestures and spicy harmony.

[T. D.]

The Piano Quartet. New arrival.

[Mirror Image]

NP:

Milhaud
La création du monde, Op. 81a
BSO
Munch

[André]

Looks like something I'd enjoy very much. I need to hear it. Thanks for the tip, Andre!

Is this a consistent approach to the other symphonies as well?

Yes, Nagano is very consistent with regard to tempi (fast), articulation (nimble) and balances (transparent). It's a very 'bouncy' approach. Like I said, the opposite of the bass-based german way. Surprising considering his Bruckner is echt teutonic (which I like, too).

[Symphonic Addict]

Thank God this doesn't sound like anything of his serial/dissonant stuff. On the contrary, all the works are very energetic, with drive, brilliantly scored. A good candidate for a favorite disc of the year.

[Mirror Image]

Thank God this doesn't sound like anything of his serial/dissonant stuff. On the contrary, all the works are very energetic, with drive, brilliantly scored. A good candidate for a favorite disc of the year.

Not a fan of atonal honking, eh?

[T. D.]

Not a fan of atonal honking, eh?

Skalkottas has the reputation of writing relatively "accessible" serial music. From the little I've heard, I agree. Bought one disc years ago, liked it, thought about getting more but other priorities came up...

Now listening:

Arrived unexpectedly today. Starting with disc 2, which concludes with SQ #2.

[Mirror Image]

Skalkottas has the reputation of writing relatively "accessible" serial music. From the little I've heard, I agree. Bought one disc years ago, liked it, thought about getting more but other priorities came up...

I've heard some of Skalkottas' tonal and atonal works and disliked both sides of his coin. I love Schoenberg and Berg, so I'm not opposed to atonal music, but Skalkottas just never struck me as an interesting composer.