What are you listening 2 now?

[Tsaraslondon]

Haitink's excellent Concertgebouw Debussy recordings gathered together with the addition of Van Beinum's Berceuse heroïque.

Overall I prefer these performances to the CBS Boulez ones I was listening to the other day.

[amw]

For me they strart around 14, though 9 is very good, too.

[asin]B07MTJLXCG[/asin]

9 (K 271 in Eb) is usually considered the first great piano concerto. I generally consider 17 (K 453 in G) his greatest but it's very hard to pick and I couldn't live without any of them except maybe the first four.

[Traverso]

Handel

Concerto op.7 No.1
Concerto op.7 No.2
Concerto op.7 No.3
Concerto op.7 No.4
Concerto op.7 No.5

[Traverso]

Stockhausen

Gruppen
Punkte

Eötvös WDR Sinfonieorchester Köln

[Harry]

SECOND RERUN.

Jan Antonin Losy.
Note d'Oro.
Jakob Lindberg, Lute.

One of the best Lute CD'S I bought in a long time.

[Tsaraslondon]

This issue of this classic Schwarzkopf/Fischer recital has been supplemented by Fischer's peerless recording of the Moments musicaux, D780, recorded in 1952.

The Lieder were recorded in 1950 and, I believe, comprised the first LP Schwarzkopf recorded in her long association with EMI. What a wonderful record too; one that has stood the test of time and the vicissitudes of fashion. Schwarzkopf's voice is light and airy, ideal for such songs as Im Frühling and Der Musensohn, and yet she can plumb the deeper meaning of a song like Wehmut and fully bring out the drama of songs like Gretchen and Spinnrade and Die junge Nonne. Fischer's accompaniments are models of clarity and beauty. I particularly love the way he can conjure up the image of moonligt dancing on the water in Auf dem Wasser zu singen. One of the loveliest recitals ever committed to disc.

[Mandryka]

SECOND RERUN.

Jan Antonin Losy.
Note d'Oro.
Jakob Lindberg, Lute.

One of the best Lute CD'S I bought in a long time.

Yep it's very good. By the way, you know that Joachim Held has recorded some Losy? On the CD called Erfreuliche Lautenlust.

[Harry]

Yep it's very good. By the way, you know that Joachim Held has recorded some Losy? On the CD called Erfreuliche Lautenlust.

Yes, have that CD too.

[vers la flamme]

Jean Sibelius: Violin Concerto in D minor, op.47. Hilary Hahn, Esa-Pekka Salonen, Swedish Radio Symphony Orchestra. Solid performance. But for some reason, following a binge back in November or so, I have been less receptive to Sibelius ever since. Sometimes his music blows my mind and sometimes it leaves me cold. And not in a good way.  I tried the Schoenberg the other day but I was not in a receptive phase for that work, either. I've heard it many times and always enjoyed it, so I think it's just a mood thing.

[prémont]

BACKLOG. 2014.

Les Maîtres de l'orgue François de Louis XIII à la Monarchie de Juillet.
Concertos et Noels.
L"Orgue dans le siècle.

Music by: Michel Corrette, Louis Claude Daquin, Claude Balbastre.

Concertos for Organ and Baroque ensemble.

Organists: Fabio Bonizzoni, Olivier Baumont.
Organs: Boizard-1714. Moucherel-1741. Dom Bedos-1748.
Ensembles: La Risonanza, La Symphonie du Marais.

A box that I still treasure. I am probably the only one that has it, apart from Premont that is.

So true.

[San Antone]

Hans Gals - Complete Solo Piano Music
Leon McCawley

Hans Gal fled Nazi Germany in 1933, only to settle in Austria until 1938 when he had to flee again.  This time to Britain, but his journey was interrupted by WWII, during which he was interned as an enemy alien.   He was invited by Donald Tovey to Edinburgh to teach, professor of theory and composition until he retired in 1960.  He remained in Edinburgh until his death in 1987.  Although his music was completely ignored (this after having been  prominent composer in Germany) he continued composing, "music for the desk," one of his last works was written when he was 96.  It was only much later, the 21st century, that his music was re-discovered, and now there are dozens of recordings of finely honed music that was unjustly overlooked for too many years.

[Traverso]

Prokofiev

Piano Sonatas 1-2-3-4-5

[Harry]

SECOND RERUN.

Johann Kuhnau.
Complete Sacred Works V.
Opella Musica-Camerata lipsiensis, Gregor Meyer.

These works can easily stand next to the great Johann Sebastian Bach, as good in music and text. All five volumes until now.
Performances are superb, and the recording too. I simply love these works.

[Harry]

SECOND RERUN.

Friedrich Gernsheim.

Complete Cello Sonatas-1-3.
Elohenu-Hebraic biblical Song, for Cello and piano.
Andante for Cello & Piano.

Alexander Hulshoff, Cello.
Olivier Triendl, Piano.

To me this is music that makes my heart leap, and warm it to an extent, that makes me dip into my feelings about this musical era. From Romantic to the Fin de Siecle, Gernsheim covers it with these cello sonatas, and in the wake of it all so much culture went down the drain, and was replaced by something far uglier, as I and others expected.
The beauty of the music remains, that's a great comfort to me.
Marvelous performances and ditto sound.

[San Antone]

I continue to enjoy Schiff's ECM Bach - in fact, I enjoy all of his ECM recordings -

[Mirror Image]

Bernstein
Fancy Free
Bernstein
NYPO

[ritter]

Another new arrival  :


The two Enesco SQs (particularly the second) are among my very favourite works by the composer, and also in the SQ repertoire. Even if they were composed more than 30 years apart (but characteristically for the composer have the same opus number--Op. 22 No, 1 & No, 2, respectively), they are a very cohesive pair, and IMHO represent Enesco at his most intriguing, autumnal and inventive. Beautiful performances by the Voces SQ.

[Mirror Image]

Another new arrival  :


The two Enesco SQs (particularly the second) are among my very favourite works by the composer, and also in the SQ repertoire. Even if they were composed more than 30 years apart (but characteristically for the composer have the same opus number--Op. 22 No, 1 & No, 2, respectively), they are a very cohesive pair, and IMHO represent Enesco at his most intriguing, autumnal and inventive. Beautiful performances by the Voces SQ.

Good day to you, Rafael. I could never quite get into Enescu's SQs and, as you know, I love a lot of this composer's music. I did thing the 2nd SQ was more interesting than the 1st, but I didn't think there were enough good ideas in either to get onboard with either of them. Enescu has become one of my favorite composers since digging deeply into his oeuvre early last year. I'll have to revisit these SQs to see if my opinion has changed at all. I also thought that particular Olympia recording was on the harsher side of things and I vastly prefer the Naxos recording with the Quatuor Ad Libitum.

[ritter]

Good day, John!

I think that in both SQs, Enesco does something quite extraordinary with a thematic development that I can only describe as elusive, and the autumnal feel of both works is very appealing to me. Quite honestly, at no point do I loose interest in what's happening, and my complaints regarding the exhaustion of the thematic material in some of the works by this composer (who's also, as you know, a favourite of mine) don't apply--well, perthaps a bit in the finale of SQ No. 1  --.

He also does something quite extraordinary at the ending of some of the movements, where there's no longer any thematic material as such, but snippets of phrases that turn into "floating notes" that then fade away, and somehow dovetail perfectly into the start of the next movement. This happens in SQ No. 1 between movements 3--allegretto scherzando--and 4--allegretto moderato--, and (most particularly) in SQ No. 2, again between movements 3--allegretto non troppo mosso--and 4--con moto molto moderato--. Although AFAIK, these transitions are not marked attacca in the scores, the music really cries out to be played in such a way. I find the effect simply magical.

I urge you to give them another try, as I think these works really merit the effort.

[Traverso]

Mozart-Scarlatti

recording 1950

A huge box !

Piano Sonata 2-9-11-12

Sonatas KK 259-64-1-492-268