What are you listening 2 now?

Started by Gurn Blanston, September 23, 2019, 05:45:22 AM

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Madiel

Dashes of Poulenc, from a mixture of streaming and CD.

- first listen to the song Toreador

- 3 Mouvements perpétuels, for piano (I'd forgotten how gorgeous the third one is)

- first listen to song cycles Le Bestiaire (chamber version) and Cocardes (piano version). I'm quite taken with the latter.

- Valse for piano, for the Album des Six

- Suite for piano, which I think is the only Poulenc piece I ever played myself. Though not nearly as rapidly as Pascal Roge plays it.

I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!

Que

Another run of this:

[asin]B000079BAK[/asin]
Q

Harry

Quote from: vandermolen on December 20, 2019, 11:56:10 PM
Some very nice early morning listening. Beethoven Piano Concerto No.1.
With thanks to Olivier (Papy Oli)
:)


Love them too!
Quote from Manuel, born in Spain, currently working at Fawlty Towers.

" I am from Barcelona, I know nothing.............."

Tsaraslondon



Spectacular singing from Dame Joan, recorded the year after her massive success as Lucia di Lammermoor at Covent Garden in 1959.
\"A beautiful voice is not enough.\" Maria Callas

Harry

Quote from: Que on December 21, 2019, 01:26:32 AM
Another run of this:

[asin]B000079BAK[/asin]
Q

So by now you will have some impression about the singing, right?
Quote from Manuel, born in Spain, currently working at Fawlty Towers.

" I am from Barcelona, I know nothing.............."

vers la flamme


vers la flamme



Maurice Ravel: Valses nobles et sentimentales. Pascal Rogé. Still looking for my favorite recording of the Valses. Perhaps Samson François, who is my favorite Ravel pianist generally speaking. I do appreciate Rogé's sort of MOR Ravel so far, but I have not been blown away by anything yet. But then I only just got this a couple days ago and have yet to hear everything.

Traverso


Que

Quote from: "Harry" on December 21, 2019, 02:07:45 AM
So by now you will have some impression about the singing, right?

Well, I don't have your professional ear... But I thought them to be precise (though not to the highest level), sober but not too cool, with just the right amount of blending. Overall, very nice indeed and I am sufficiently encouraged to get their "Whyte Rose" recording.
What they might lack is that little extra panache - the soberness is a bit "down to earth".
But that is a matter of personal taste.

Q

San Antone

#6289
Quote from: Que on December 21, 2019, 03:31:05 AM
Well, I don't have your professional ear... But I thought them to be precise (though not to the highest level), sober but not too cool, with just the right amount of blending. Overall, very nice indeed and I am sufficiently encouraged to get their "Whyte Rose" recording.
What they might lack is that little extra panache - the soberness is a bit "down to earth".
But that is a matter of personal taste.

Q

The Ferrara Ensemble does a good job with Machaut chansons



They have also released two other early music recordings I think highly of:



Crawford Young also formed the Ensemble P.A.N. (Project Ars Nova), which put out some excellent recordings but sadly are no longer active after the death of one of their primary members in 1999.  The Ferrara Ensemble has ever-changing membership since the ensemble is drawn from students at the Schola Cantorum.  Crawford Young is highly regarded as a scholar and musician in Medieval and Renaissance repertory.

Traverso

Monteverdi

Vespro della Beata Vergine (1610)



While listening, it is soon clear to me that Parrott remains my favorite but that does not mean that it is a punishment to listen to .
The performance as a whole is austere and feels a bit cold, but if you listen a little longer it is nevertheless convincing.
The exuberance has been withheld and in that sense it is indeed more a Vesper and does it (rightly ?) not have the pontificality of a high mass.
The madrigalesque version of Parrott remains my first choice.

San Antone

Quote from: Traverso on December 21, 2019, 04:37:54 AM
Monteverdi

Vespro della Beata Vergine (1610)



While listening, it is soon clear to me that Parrott remains my favorite but that does not mean that it is a punishment to listen to .
The performance as a whole is austere and feels a bit cold, but if you listen a little longer it is nevertheless convincing.
The exuberance has been withheld and in that sense it is indeed more a Vesper and does it (rightly ?) not have the pontificality of a high mass.
The madrigalesque version of Parrott remains my first choice.

Andrew Parrott wrote a seminal paper concerning pitch levels in the Monteverdi Vespers, and I too consider his recording of this work to be my favorite.  I also like his recording of the Machaut Messe de Nostre Dame; it is among the best ever, of course IMO.

TD



Lamentatio : Agricola and Lassus
Egidius Kwartet

Florestan

Every kind of music is good, except the boring kind. — Rossini

kyjo

Quote from: vandermolen on December 20, 2019, 11:56:10 PM
Some very nice early morning listening. Beethoven Piano Concerto No.1.
With thanks to Olivier (Papy Oli)
:)


Jeffrey listening to Beethoven?! Am I living in a parallel universe? :D In all seriousness, I also have that disc which is very fine. I particularly love the playful finale of the concerto.
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff

San Antone



AMOURS AMOURS AMOURS
Lute Duos around 1500


Karl-Ernst Schröder, lute
Crawford Young, lute

kyjo

"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff

Traverso

Quote from: San Antone on December 21, 2019, 04:50:26 AM
Andrew Parrott wrote a seminal paper concerning pitch levels in the Monteverdi Vespers, and I too consider his recording of this work to be my favorite.  I also like his recording of the Machaut Messe de Nostre Dame; it is among the best ever, of course IMO.

TD



Lamentatio : Agricola and Lassus
Egidius Kwartet


I like the Machaut recording too,did you hear this Parrott recording,it's bliss.



There is a performamance of the Vesper in my hometown (23-12),guess who,indeed with Andrew Parrott  :)


The Vespers are Monteverdi's calling card with eternal value. "

Monteverdi benefited from the sparkling court of Mantua. He played the gamba, composed plenty of madrigals, and wrote opera history. But what if he could trade the demanding Gonzaga dukes for a pope? As a maestro di cappella in Rome, he would really be able to leave his mark, and without being a difficult boss. The Vespers became Monteverdi's calling card with eternal value, even though Paul V declined the advances.

It is up to Vespers authority Andrew Parrott to shine his light on the colorful mix of old, polyphonic church music and budding baroque. As a high-profile pioneer of historically informed performances, Parrott   already astonished us in 1984 with his Taverner Consort. Keywords: transparency, the human dimension and the resounding result of recent research. Exactly what the Bach Society in 2019 still stands for.

Nederlandse Bachvereniging
o.l.v. Andrew Parrott

Griet De Geyter, sopraan
Isabel Schicketanz, sopraan
Victoria Cassano, mezzo-sopraan
Rodrigo del Pozo, (hoge) tenor
Kevin Skelton, (hoge) tenor
Zachary Wilder, tenor
João Moreira, tenor
Victor Torres, bariton
Joep van Geffen, bas

kyjo

Quote from: Symphonic Addict on December 20, 2019, 08:31:46 PM


Nielsen - Symphony No. 4

Menuhin conducting Nielsen's 4th Symphony. I didn't expect such a vibrant rendition, and relatively lengthy too (39:15). The timpani duel is thrilling and accentuated. The last passages were taken too fast, albeit as a whole there is a good display of its most prominent features. Very impressive overall.

Very interesting, Cesar! I would have never associated Menuhin with conducting Nielsen. Good to hear that's it's a compelling recording! Also interesting coupling choice with the VW works.
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff

Traverso

Mozart

If paradise exists, I have only one wish, "said Gulda:" Playing the four-handed piano with Mozart ".

Gulda started practicing regularly in 1980 in the Austrian village of Weissenbach on Lake Attersee. The hotel "Zur Post" had a nice Bösendorfer annd rest. No tourists in the winter. Gulda invited a music director, Hans Klement, who made recordings. The original tapes remained with him, but they  are lost. His widow gave a copy on cassette to Gulda's son Rico. You can hear how he prepared through these CDs. They are not crumbled rehearsals, but integral recorded sonatas. You are in the Gulda studio. A small, somewhat dry room, microphones close to the keyboard, and a Revox tape recorder records that. Nothing more nothing less. The sound quality is not luxuriously differentiated, and that can deter some. Listening to each other consecutively is not comfortable. But ... what you hear is a very intimate document from a Mozart interpreter who is still compelling a quarter of a century later. Gulda does not play Mozart as a porcelain doll, does not romanticize, stays far away from all manner of mannerisms. They are virile, vivid interpretations, full of compelling expressiveness, both in the structure of lines and in the dynamic hues and color effect (although the quality of recording does not show that last facet sufficiently). Very little pedal, sharp articulation, sharp tempi, but the slow movements still lyrical and natural.

CD1

KV 330-332-333


San Antone

Quote from: Traverso on December 21, 2019, 05:24:09 AM

I like the Machaut recording too,did you hear this Parrott recording,it's bliss.



There is a performamance of the Vesper in my hometown (23-12),guess who,indeed with Andrew Parrott  :)


The Vespers are Monteverdi's calling card with eternal value. "

Monteverdi benefited from the sparkling court of Mantua. He played the gamba, composed plenty of madrigals, and wrote opera history. But what if he could trade the demanding Gonzaga dukes for a pope? As a maestro di cappella in Rome, he would really be able to leave his mark, and without being a difficult boss. The Vespers became Monteverdi's calling card with eternal value, even though Paul V declined the advances.

It is up to Vespers authority Andrew Parrott to shine his light on the colorful mix of old, polyphonic church music and budding baroque. As a high-profile pioneer of historically informed performances, Parrott   already astonished us in 1984 with his Taverner Consort. Keywords: transparency, the human dimension and the resounding result of recent research. Exactly what the Bach Society in 2019 still stands for.

Nederlandse Bachvereniging
o.l.v. Andrew Parrott

Griet De Geyter, sopraan
Isabel Schicketanz, sopraan
Victoria Cassano, mezzo-sopraan
Rodrigo del Pozo, (hoge) tenor
Kevin Skelton, (hoge) tenor
Zachary Wilder, tenor
João Moreira, tenor
Victor Torres, bariton
Joep van Geffen, bas

I will hunt down that Bach recording and give it a listen.  Thanks for the tip.   ;)    Wow, I am green with envy over your opportunity to hear Parrott lead a performance of the Monteverdi Vespers.  And on my birthday!  Wish I could be there.

8)