What are you listening 2 now?

[Karl Henning]

Shostakovich
The Execution of Stepan Razin, Op. 119
Gromadsky
Moscow Phil
Kirill Petrovich

[DavidW]

Yeah, I seem to recall enjoying the 11th, especially since it was on the shorter side --- it's intensity doesn't wear you out like say the 9th, for example, that just goes on and on. What's nice about the 6th, 7th and 8th are their lyrical moments, especially in the 7th. I'll never understand why at least the 7th isn't more widely performed and not a part of the concert repertoire. It's a masterpiece as far as I'm concerned and I think it would move many concert goers.

+1 the 9th is exhausting and the 7th is something everyone should hear at least once.

[DavidW]

I forgot if I mentioned it but Haydn symphonies 40-42 was my listening.

[Karl Henning]

I forgot if I mentioned it but Haydn symphonies 40-42 was my listening.

Sweet!

For me now:

Shostakovich

Vn Cto № 2 in c# minor, Op. 129
Gidon Kremer
BSO
Ozawa

[Karl Henning]

At last! The day I listen to the c# minor concerto more than once ...

Shostakovich

Vn Cto № 2 in c# minor, Op. 129
David Oistrakh
Moscow Phil
Kirill Petrovich

[Karl Henning]

At last! The day I listen to the c# minor concerto more than once ...

Shostakovich

Vn Cto № 2 in c# minor, Op. 129
David Oistrakh
Moscow Phil
Kirill Petrovich

Oistrakh's performance is excellent, of course (not to suggest that Kremer's was not.) Nothing fatal, to be sure, but there were times when you could tell that neither the sound nor the orchestra was at the very best level.

And now, a classic:

Shostakovich
Sonata for Violin  Piano, Op. 134
Oleg Kagan & Svyatoslav Richter

[Mapman]

I've been busy listening today, to a mix of new and familiar works.

Butterworth: The Banks of Green Willow
Parry: Lady Radnor's Suite
Bridge: Suite for String Orchestra

Grainger: Linconshire Posy and Shepherd's Hey

Arnold: Symphony #3

Grieg: Excerpts from Peer Gynt, and 6 Orchestral Songs

   

[vers la flamme]

Anton Bruckner: Symphony No.4 in E-flat major, WAB 104, the "Romantic". Daniel Barenboim, Berlin Philharmonic

I have the box set, but I love the astronomical covers of the original releases. This might be my favorite recording of the 4th. It's so damn good.

[Todd]

Wrapping up the set with Opp 132 & 135.  I think I know why I have never really loved this set: like Suzuki's Bach Cantatas, it's basically too perfect.  The expressivity in Op 132 does not match the unsurpassed and almost unequaled playing, for instance.  Make no mistake, this is top tier, it's just not my favorite. 

I also was reminded anew that the mastering engineer(s) did not compress the sound as much as normal, even for otherwise superb sounding recordings, adding some extra impact. 

[vandermolen]

As you might imagine I have this CD already, and I concur, it is a fine release.

I thought as much! 

[vandermolen]

First-Listen Sunday:

Piston
Symphony No. 5
National Orchestral Institute Philharmonic
David Alan Miller

What's the Piston like John?

[Operafreak]

Mendelssohn: Violin Concertos

Viktoria Mullova (violin)- Academy of St Martin in the Fields, Sir Neville Marriner

[Mirror Image]

What's the Piston like John?

This isn't knotty later Piston, but more lyrical than I expected. A fine piece, IMHO. I'd like to give it another listen actually. I think you would like it, too.

[Mirror Image]

Oistrakh's performance is excellent, of course (not to suggest that Kremer's was not.) Nothing fatal, to be sure, but there were times when you could tell that neither the sound nor the orchestra was at the very best level.

And now, a classic:

Shostakovich
Sonata for Violin  Piano, Op. 134
Oleg Kagan & Svyatoslav Richter

Karl, you've got to hear Alina Ibragimova (w/ Vladimir Jurowski at the helm) in the 2nd VC. She's stupendous! Actually, I would say she just edges out Mordkovitch who was previously my reference.

[Mirror Image]

NP:

Schmidt
Symphony No. 2 in E-flat major
Malmö Symphony Orchestra
Vassily Sinaisky



I truly love this symphony. In many ways, I prefer it to the more famous 4th. This performance is also top-drawer. I'm not sure if this cycle from Sinaisky has received any universal praise, but it should, however, my reference remains Paavo Järvi with the Frankfurt RSO on DG.

[JBS]

From the Peter Serkin box

[Mirror Image]

Er, I think it possible you have mis-understood. I've written an entire music playing software precisely because I don't believe in tracks and only ever play complete works. Indeed, whenever the software records a 'play', partial plays don't count. If you don't get to the last note of the last bar, you've not listened to whatever piece it is we're talking about at all as far as Giocoso is concerned. And whilst I retain the ability to say, "Play Peter Grimes" or "Play Mahler's 6th Symphony", I generally say to it, "Play things I haven't played before which last between 20 and 50 minutes" or "Play choral works" -and, at that point, what specifically gets played, is chosen at random by the software. But once it start's playing, there's no way to jump to specific movements, or to behave as if classical music consisted of "tracks" of anything. It is the equivalent of listening to Radio 3 without the program guide: I never know what I'm going to be listening to next, but when I get there, it will be the entire piece (unlike, say, Classical FM, which will also be pretty random, but only a selection of 'the good bits').

One can randomise works, basically, not tracks. As you could verify by checking my recorded play history against what you think the duration of any given work should be.

Thanks for the clarification. I will say that the idea of a random-iser doesn't appeal to me at all, so good luck with all of that!

[Karl Henning]

From the Peter Serkin box

Love this album!

[vandermolen]

This isn't knotty later Piston, but more lyrical than I expected. A fine piece, IMHO. I'd like to give it another listen actually. I think you would like it, too.

Thanks very much John.

[Que]

Morning listening on Spotify - Desprez in Italian fashion:



On the fifth centenary of the composer's death (1521), the Odhecaton ensemble proposes to retrace Josquin's Italian itinerary with the Missa Hercules dux Ferrariæ, composed for the Duke of Ferrara Ercole I d'Este, and a selection of motets commissioned by Italian patrons. The contribution of The Gesualdo Six in the more solemn pieces brings the vocal ensemble to twentytwo singers, a number that is close to the forces of the Rome and Ferrara chapels and yields new sonic results in our quest to recreate how polyphony sounded in the fifteenth and early sixteenth centuries.