What are you listening 2 now?

[Harry]

Joseph Schelb.

Chamber music.

Piano Trio No. 2.
Quartet for Violin, Horn, Cello & Piano.
Piano Quintet.
World Premiere recordings.

Radovan Vlatkovic, Horn, Daniel Gaede, Violin, Nina Karmon, Violin, Hariolf Schlichtig, Viola, Samuel Lutzker, Cello, Oliver Triendl, Piano.

Joseph Schelb is quickly becoming a favourite composer with me. I was immensely impressed by his orchestral works, of which I possess already two volumes, and his chamber music is following suit.

[Madiel]

Someone here reminded me a couple of days ago that I meant to listen to this series properly...



Rather enjoying op.59/1 so far.

[Biffo]

Sibelius: Symphony No 7 in C major - Lahti Symphony Orchestra conducted by Osmo Vanska

[aligreto]

Beethoven: Piano Sonata No. 9  Op. 14/1 [Fischer]

[aligreto]

I agree with you Fergus. That recording [of Bax's On The Sea Shore] has had a number of different manifestations - this being my favourite:

Do you happen to know, Jeffrey, or anyone else for that matter, what the original scoring was for?

[Biffo]

Do you happen to know, Jeffrey, or anyone else for that matter, what the original scoring was for?

I have this album in an earlier (?) incarnation and it doesn't have the Stanford piece. The booklet note says that Graham Parlett realised the Bax work from 'just three pages of short score, with only one indication of the intended instrumentation, a melody at bar 25 marked "oboe" '

[vandermolen]

I have this album in an earlier (?) incarnation and it doesn't have the Stanford piece. The booklet note says that Graham Parlett realised the Bax work from 'just three pages of short score, with only one indication of the intended instrumentation, a melody at bar 25 marked "oboe" '

Here's the initial CD release:

[aligreto]

I have this album in an earlier (?) incarnation and it doesn't have the Stanford piece. The booklet note says that Graham Parlett realised the Bax work from 'just three pages of short score, with only one indication of the intended instrumentation, a melody at bar 25 marked "oboe" '

Thank you very much for taking the time to check and to post.

I have had this contribution from another member who posted the following in the Bax Thread:

FYI - On the Sea-Shore was orchestrated by the brilliant and much missed Bax scholar Graham Parlett and is taken from an interlude to an incomplete opera called Deidre from around 1908.  The Prologue had an independent ife as "Into the Twilght" which is on this disc as well.  The march from the same opera became Rosc-catha......

I appreciate your efforts.
Thank you again. 

[Operafreak]

Clair-Obscur

Strauss - Berg - Zemlinsky -Sandrine Piau (soprano), Orchestre Victor Hugo Franche-Comté, Jean-François Verdier

[Karl Henning]

Arnold Bax.

Sonata for Viola and Piano.
Concert Piece for Viola and Piano.
Legend for Viola and Piano.
Trio in one movement for Piano, Violin & Viola.

Martin Outram, Viola.
Laurence Jackson, Violin, Julian Bolton, Piano.

I think the series of Bax his music recorded by Naxos deserves all praise. This CD is no exception. The music is played with passion, but never to much drama. Inspiring performance, in which all emotions finds a proper place.

Looks interesting, Harry!


TD:

[Harry]

Luys Milan
Fantasies Nr. 1-5, 8, 10-12, 14, 21; Pavane Nr. 1-6; Tentos No. 4.

Luys de Narvaez.
Fantasien Nr. 2, 3, 4, 6; La cancion del Emperador; Veynte y dos diferencias de Conde Claros; 4 Diferencias sobre guardame las vacas, Otras tres diferencias hechas por otra parte; Baxa de contra punto.

Giuseppe Chiaramonte (Guitar)

That's not half bad, very pleasant to listen to, and done with style and ultimate elegance. Worth the modest outlay. The recording is very good.

[Harry]

Looks interesting, Harry!


TD:

Well it is Karl, I simply have a weak spot for this composer. Plus I think him one of the best Composers of his time.

[Lisztianwagner]

Interesting quote from Schoenberg about Kammersymphonie Nr. 2:

"For a month I have been working on the Second Chamber Symphony. I spend most of the time trying to find out 'What was the author getting at here? Indeed, my style has greatly deepened meanwhile, and I find it hard to reconcile what I then rightly wrote, trusting my sense of form and not thinking too much, with my current extensive demands in respect of 'visible' logic. Today that is one of the major difficulties, for it also affects the material."

Returning to pieces written in an older style is something he also encountered when finishing his Gurrelieder. To this listener, I feel that he finished the works with astonishing results, but it does seem that returning to the past is something that weighed heavily on his mind from time to time. This composer occupies such a fascinating place in music history and, naturally, he felt his music was a continuation of the Germanic tradition he inherited from Mozart, Beethoven, Brahms, Wagner et. al. There needs to a festival formed for The Second Viennese School (this would also include composers like Skalkottas, Dallapiccola, Wellesz et. al.) that helps promote these composers, especially the main three: Schoenberg, Berg and Webern.

Nice! He also said: "A longing to return to the older style was always powerful in me; and from time to time I had to yield to that urge. So sometimes I write tonal music. For me, stylistic differences of this kind have no special meaning. I don't know which of my compositions is better; I like them all because I liked them when I wrote them."

As a matter of fact, one of the interesting aspects of the Kammersymphonie No. 2 is the presence of two ways of organizing the sounds structure, two ways which anyway don't oppose each other, but in a certain sense, they integrate and blend with each other: the first movement (revisited and reorchestrated, but basically the 1906 score), despite showing tense, thrilling atmospheres that reminds of Verklärte Nacht and Pelleas und Melisande, doesn't disdain forms of dodecaphonic technique like inversions of previous themes or passages as basis that following sections are thematically built on; instead, even in a tonal weaving, the denser contrapuntal texture, sharp attacks and the clarity of the melodic lines of the second movement, bring to the late Schönberg.

If there was that sort of Festival for the Second Viennese School, it would be certainly great!

[Mirror Image]

Nice! He also said: "A longing to return to the older style was always powerful in me; and from time to time I had to yield to that urge. So sometimes I write tonal music. For me, stylistic differences of this kind have no special meaning. I don't know which of my compositions is better; I like them all because I liked them when I wrote them."

As a matter of fact, one of the interesting aspects of the Kammersymphonie No. 2 is the presence of two ways of organizing the sounds structure, two ways which anyway don't oppose each other, but in a certain sense, they integrate and blend with each other: the first movement (revisited and reorchestrated, but basically the 1906 score), despite showing tense, thrilling atmospheres that reminds of Verklärte Nacht and Pelleas und Melisande, doesn't disdain forms of dodecaphonic technique like inversions of previous themes or passages as basis that following sections are thematically built on; instead, even in a tonal weaving, the denser contrapuntal texture, sharp attacks and the clarity of the melodic lines of the second movement, bring to the late Schönberg.

If there was that sort of Festival for the Second Viennese School, it would be certainly great!

Yes, indeed. Kammersymphonie Nr. 2 is a brilliant work in an oeuvre that's full of them.

[Spotted Horses]

Mozart Symphony No 32, Norrington, Suttgart.



A diminutive gem is Mozart's set of symphonies. Nicely performed, rhythmically taut, trumpets and horns not shy, I was expecting a bit more from the timpani. Overall, satisfying, not dissimilar to the Fischer set.

[DavidW]

Mahler: Symphony No. 10 (Vänskä / Minnesota Orchestra) - First time hearing this recording, and so far, does not disappoint. Based on the previous releases in the cycle, this may well be a first choice for some. I think Alex Ross once asked if the Minnesota Orchestra were the best in the country (after some Sibelius), and while there are lots of contenders, they certainly play like it here.



--Bruce

Yes I recently listened to that recording and really liked it.

[Mirror Image]

Looks like today will be a Czech kind of day...

Dvořák
The Hero's Song, Op. 111
Scottish National Orchestra
Järvi

From this 2-CD set -





About The Hero's Song, Op. 111:

This composition of 1897 was Dvorak's last orchestral work. Unlike his previous four symphonic poems, this one does not have a specific program (or if it does, Dvorak chose not to disclose it). One wonders why extra-musical associations often help a piece of music become popular, specially if they are as ghastly as the Erben ballads on which the other four symphonic poems are based. There are no musical reasons for the comparable neglect of Hero's Song which is musically as rich as its siblings written one year earlier. It is based on a short theme in minor mode heard at the very beginning. The work begins impetuously, Allegro con fuoco, featuring the main theme in diverse shapes. The music gradually quiets down to a Poco adagio lacrimoso, a section full of sadness and longing. The hero gradually recovers from his grief. The mode becomes major and the mood victorious. A series of alternatives follows leading to the final triumph of the hero in the concluding coda. A truly enjoyable piece that deserves to be more popular.

[Article taken from All Music Guide]

[DavidW]

After reading Spotted Horse's posts about the wonderful remastering of Bernstein Mahler I, just had to give it a shot.  It really is good!  So much better than the previous releases.  I listened to the M9 which is lean and swift.  Much faster than his third recording in the DG set.  While I'm not a fan of racing through the work like that, it was great to hear the recording the way that it was meant to be heard.  BTW I hate the cover art because this is the cycle from when Bernstein was a young man, so this picture is inappropriate.



I also listened to the Barenboim Bruckner 9.  It was good, and great sonics.  Middle of the road for me.  Not amazing but not blah either.  I think this is one of those bestsellers so maybe I'm missing something.

[Harry]

Il Liuto del Principe.

Works by:
Carlo Gesualdo von Venosa, Allessandro Piccinini, Johannes Hieronymus Kapsberger, Pietro Paolo Melli, Claudio Saracini, Bellerofonte Castaldi.

Bor Zuljan (Lute)

I am spoiled today by the many new recordings I am listening to.

[Mirror Image]

More Dvořák:

Ecloques, B. 103
Radoslav Kvapil



Next up:

String Quintet No. 3 in E flat major, Op. 97 'American'
Pavel Nikl, Pavel Haas Quartet



I have to say Dvořák's solo piano music is much better than I remembered. This work Eclogues is fantastic! It might be a first-listen, I'm not sure.