What are you listening 2 now?

[jess]

First time listening to this Mitterer release from nine years ago and I'm wondering why I've never bothered to listen to it before. I'm really enjoying it!

http://open.spotify.com/album/2R0bFNgAuMt4OV3bvWBC9o

[Papy Oli]

Haydn - No.103 "Drum Roll"
Celibidache / Munich Phil.

[asin]B005HYNCQ8[/asin]

[Tsaraslondon]

If you reread that last sentence, it shows zero awareness of what the word "fashion" actually means.

I apologise for being born later than I ought to have been.

NEXT!

The year you were born is immaterial.

I was born in the LP age and grew up in the stereo age. It has not prevented me from appreciating the artistry of those who died before I was born and who recorded when recording techniques were more primitive, nor has it prevented me from appreciating their great artistry.

When I was young I enjoyed black and white movies that were made long before I was born. Maybe they were old fashioned too. I didn't really care. I enjoyed them anyway and still do.

In the world of classical music, and particularly vocal music, I find there are few singers today (please note the use of the word few rather than no) who can compare with the greats of the past however good recording techniques have become. I consider myself fortunate in being able to draw from such a rich performance tradition when listening to music.

Now in my sixties, I suppose I am approaching old age, but, believe it or not, I still occasionally go clubbing and have a very wide range of musical tastes. I have friends of all ages and my partner is actually a good deal younger than I am. I have never asked him to apologise for his youth. My niece is a musician, a rock singer and composer and I really like her music. She doesn't much like commercial pop and appreciates music and styles of music from long before she was born.

Great music and great music making has nothing to do with fashion, but, by all means, just follow trends. You're missing out on a lot, but that's your choice.

NEXT!

[Papy Oli]

Oh? That's quite interesting you have had a similar experience with Sibelius. I'm definitely interested in how you get on with Sibelius since he's obviously one of my favorites. The 2nd is one of the most popular Sibelius symphonies, but I believe the 5th is equal footing as far as popularity goes, then there's the well-known tone poems like Finlandia and Tapiola. One thing to keep in mind about Sibelius' music is how it doesn't really align itself with Late-Romanticism or Modernism --- he created his own idiom, IMHO. Something that is quite unique about his orchestral writing, in particular his string writing, is how it doesn't really strive for this lushness like that found in Late-Romantic, there's almost like an astringent element to it. It can sound quite raw as well whereas the woodwinds get all of these almost Impressionistic type of parts but the woodwinds can turn around and be brooding and piercing. The brass always have some biting parts, especially in the more tutti sections. Percussion is reserved for tutti sections as well, but occasionally you'll hear a part that shines it's way through the other textures like in the last movement of the 4th symphony. Anyway, I look forward to reading your impressions about Sibelius' music.

Thank you for your perspective, John.

[San Antone]

Guy Ropartz : Piano Music
Stephanie McCallum

[prémont]

It is a sad fact that nowadays performances of the great classics that deviate from the norm are stoned by critics and listeners. A Brahms first such as this one (or one by Furtwängler or Mengelberg), with its frequent and drastic tempo changes, turbocharged allegros, jaw-dropping rallentandos and unabashed emotional climate would offend the purist no end. Our era has become very emotionally constipated.

It is not necessarily a question of purism. Taste and temper may be decisive.

[Harry]

The time of Monteverdi. CD VIII.

Instrumental music for Polyphonic Instruments.

Composers: Frescobaldi, Fantini, Picchi, Piccinini, Kapsberger, Bartolotti, Trabaci, . 

A fine close for this box. Save for one CD its all good, if you cut out Rene Jacobs as a counter, and a wayward soprano with a wobble.

[San Antone]

Part: Kanon Pokajanen
Cappella Amsterdam, Daniel Ruess



My go-to reference for this work has been the ECM recording by the Estonian Philharmonic Chamber Choir led by Tõnu Kaljuste, but this one by Daniel Ruess and the Cappella Amsterdam is also very good, IMO.

[Papy Oli]

Part: Kanon Pokajanen
Cappella Amsterdam, Daniel Ruess



My go-to reference for this work has been the ECM recording by the Estonian Philharmonic Chamber Choir led by Tõnu Kaljuste, but this one by Daniel Ruess and the Cappella Amsterdam is also very good, IMO.

The ECM version is one of my desert island discs. I remember sampling the above some time ago but wasn't as enthralled by their sound. Might be worth re-assessing.

[vandermolen]

King Kristian II incidental music.
With grateful thanks to John (MI).
A fabulous disc:

[Ratliff]

Dutilleux, Timbres, Espace, Mouvement ou La Nuit Etoilee, Rostopovich and Tortelier recordings



and



Peculiar ensemble, more or less a full symphony orchestra from which violins and violas have been excluded and cellos and basses augmented. Didn't make as strong an impression as some other Dutilleux works I've listened to recently, specifically the Cello Concerto, Metaboles and the second symphony. Two movements which didn't seem to have a distinct function. The Tortelier recording is of a revised version that has an interlude for cellos and bass viols. Some fascinating sonorities, whirling melodic figuration, but the overall structure was vague to me. I prefer the Rostropovich recording.

[Todd]

Through cans.  Everything about the disc is very good, but Ms Schafer owns the big work to my ears. 

[Traverso]

Chopin

[aligreto]

Shostakovich: Violin Concerto No. 1 [Oistrakh/Shostakovich]





A dark, intense and somewhat poignant performance. The final movement is thrilling.

[Karl Henning]

It is not necessarily a question of purism. Taste and temper may be decisive.

Indeed.

[Mirror Image]

Thank you for your perspective, John.

My pleasure, Olivier.

[Traverso]

Brahms, symphony no 1 and Haydn Variations. RSO Leipzig.

It is a sad fact that nowadays performances of the great classics that deviate from the norm are stoned by critics and listeners. A Brahms first such as this one (or one by Furtwängler or Mengelberg), with its frequent and drastic tempo changes, turbocharged allegros, jaw-dropping rallentandos and unabashed emotional climate would offend the purist no end. Our era has become very emotionally constipated.

Stepping down from the soap box, I spent a fabulous 45 minutes with Brahms and a contingent of superb musicians giving their all for this 1949 studio recording. The sound is clear, detailed and wide-ranging considering the date.

The soap box

Modern Times

It is the fault of all that "fast food"
All important is to be entertained, one way or the other and preferably without any effort from the consumer.
It is advertised as our right.
Don't waste your time,if it doesn't come quick it has no value.

The erosion is not only going on in nature.

[aligreto]

Symphony No. 6 [Berglund]





This is a powerful, assertive and very atmospheric version of this wonderful work. Berglund delivers the requisite power, drama and tension throughout. This Berglund performance has a  powerful presence to it.

[aligreto]

The soap box

Modern Times

It is the fault of all that "fast food"
All important is to be entertained, one way or the other and preferably without any effort from the consumer.
It is advertised as our right.
Don't waste your time,if it doesn't come quick it has no value.

The erosion is not only going on in nature.

[Traverso]

What does that mean ?