What are you listening 2 now?

[Mirror Image]

Britten
Death in Venice, Op. 88
Michael Chance (counter-tenor), Philip Langridge (tenor), Alan Opie (baritone)
BBC Singers, City of London Sinfonia
Richard Hickox



One of the greatest operas I've ever heard and one that I still rank highly. Apparently, Pears said that Death in Venice was an 'evil opera' and it was killing Britten. I think this is true to some extent. As told in the documentary by John Bridcut titled Britten's Endgame, that Britten was supposed to have heart surgery but ignored his doctor's wishes and continued to work on this opera. The subject matter is also risky as it is essentially about a man who falls for a young teenaged boy. Britten was certainly wrestling with some demons of his own. The music itself harkens back to some of that Gamelan-influence found in the ballet, The Prince of the Pagodas. For those that loved The Turn of the Screw, will most definitely find much to savor here. I doubt I'll finish this entire opera tonight as I've got some other works I need to get to, but for anyone who hasn't heard this Hickox performance and enjoy this opera, then please run out and buy it.

A great article found here with some video presented by Colin Matthews:

https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/40-death-in-venice/

[T. D.]

Just finished listening to the first 12 of the 20 discs of this collection, all of which I greatly enjoyed. A super box set so far, much of the music was new to me. The remaining discs feature a lot of art songs and may be less to my taste, but perhaps I'll be pleasantly surprised.

[Symphonic Addict]

Humoresques, Op. 101

A first listen to this work, and am truly delighted!! This is mercilessly tuneful and gracious, even nostalgic. What lovely pieces. Seems like Dvorak will be my next composer to explore his piano works.

[Mirror Image]

Just finished listening to the first 12 of the 20 discs of this collection, all of which I greatly enjoyed. A super box set so far, much of the music was new to me. The remaining discs feature a lot of art songs and may be less to my taste, but perhaps I'll be pleasantly surprised.

Like the solo piano music, I great to love Poulenc's mélodies, too. There's something about this kind of intimate atmosphere of just voice and piano that I find deeply rewarding. I've come a long way in my own listening as I used to just love orchestral, chamber music, and some vocal works, but, now, I find much to love in all genres.

[Mirror Image]

Humoresques, Op. 101

A first listen to this work, and am truly delighted!! This is mercilessly tuneful and gracious, even nostalgic. What lovely pieces. Seems like Dvorak will be my next composer to explore his piano works.

I need to explore Dvořák's piano music as well, but also the sacred works and lieder. I already love much of the chamber music and orchestral works.

[Mirror Image]

Some selections from this amazing recording:



I do wonder if Ogawa and BIS are going to get around to released a third volume in this Satie solo piano music series. I really hope they do.

[Karl Henning]

I wasn't aware that Alsop said that, and I don't know her rationale.  In Mass all of Bernstein's aspects are represented: his jagged modern atonalism, his Broadway tunes, his Americanisms, which all add up to a quintessential Bernstein stylistic pastiche.  And then there's his spiritual struggling.  But for me it hangs together as a unified work.

I've hesitated to approach the Mass all this while, your thumbnail has me curious to try it out at last.

[springrite]

Starting my winter journey through the complete Bach edition, starting with:

BWV 1
BWV 2
BWV 3!

[André]

Britten
Death in Venice, Op. 88
Michael Chance (counter-tenor), Philip Langridge (tenor), Alan Opie (baritone)
BBC Singers, City of London Sinfonia
Richard Hickox



One of the greatest operas I've ever heard and one that I still rank highly. Apparently, Pears said that Death in Venice was an 'evil opera' and it was killing Britten. I think this is true to some extent. As told in the documentary by John Bridcut titled Britten's Endgame, that Britten was supposed to have heart surgery but ignored his doctor's wishes and continued to work on this opera. The subject matter is also risky as it is essentially about a man who falls for a young teenaged boy. Britten was certainly wrestling with some demons of his own. The music itself harkens back to some of that Gamelan-influence found in the ballet, The Prince of the Pagodas. For those that loved The Turn of the Screw, will most definitely find much to savor here. I doubt I'll finish this entire opera tonight as I've got some other works I need to get to, but for anyone who hasn't heard this Hickox performance and enjoy this opera, then please run out and buy it.

A great article found here with some video presented by Colin Matthews:

https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/40-death-in-venice/

Thanks for the comment, John! I haven't listened to it yet (it's not included in the EMI box of Britten operas I purchased a few months ago). I recall watching a TV program that featured it in the late seventies. I don't remember the details (source) but I seem to recall that it was in b&w and that I had found it rather slow moving. I might go for a DVD of it.

[Karl Henning]

Starting my winter journey through the complete Bach edition, starting with:

BWV 1
BWV 2
BWV 3!

Groovy!

[Karl Henning]

LvB
Op. 126 Bagatelles
Korstick

[Mirror Image]

Thanks for the comment, John! I haven't listened to it yet (it's not included in the EMI box of Britten operas I purchased a few months ago). I recall watching a TV program that featured it in the late seventies. I don't remember the details (source) but I seem to recall that it was in b&w and that I had found it rather slow moving. I might go for a DVD of it.

My pleasure. It's more of a subdued, psychological opera, Andre. If you like the broodiness and eeriness of The Turn of the Screw, then Death in Venice will be awaiting your rediscovery. Yes, while I agree the opera is slow moving, it still is profoundly affecting to me. The exotic percussion effects add to the atmosphere and that's one thing I can say is this opera is oozing atmosphere. I'm not an opera fan like some listeners are here (I prefer more song cycles, cantatas, oratorios, etc.), but I will proudly admit that there are several Britten operas that make my top rank and Death in Venice is certainly among them --- The Turn of the Screw and Peter Grimes being two others I think highly of. Noye's Fludde is another Britten opera I think deserves more recognition.

[bhodges]

I've hesitated to approach the Mass all this while, your thumbnail has me curious to try it out at last.

Though I haven't heard the Alsop recording (which based on her other work and comments here, is likely excellent), I have heard Mass live, and it's definitely worth at least one outing.

Yes, imperfect, and sprawling -- not to mention, very much a snapshot of its time -- but still filled with exuberance and moving sequences.

--Bruce

[JBS]

My pleasure. It's more of a subdued, psychological opera, Andre. If you like the broodiness and eeriness of The Turn of the Screw, then Death in Venice will be awaiting your rediscovery. Yes, while I agree the opera is slow moving, it still is profoundly affecting to me. The exotic percussion effects add to the atmosphere and that's one thing I can say is this opera is oozing atmosphere. I'm not an opera fan like some listeners are here (I prefer more song cycles, cantatas, oratorios, etc.), but I will proudly admit that there are several Britten operas that make my top rank and Death in Venice is certainly among them --- The Turn of the Screw and Peter Grimes being two others I think highly of. Noye's Fludde is another Britten opera I think deserves more recognition.

I have yet to hear this opera. One problem is that I read the Mann novella long before I knew about the opera. [In fact, checking dates, I read the story c 1975, soon after Britten wrote the opera, and well before I knew Britten as anything other than the guy who wrote Young Person's Guide to the Orchestra.] Mann's story is itself such a masterpiece that it's hard for me to see it translated into another medium.]

BTW,  The Turning is nearing release. It alleges itself to be based on thd original James novel.

[Mirror Image]

I have yet to hear this opera. One problem is that I read the Mann novella long before I knew about the opera. [In fact, checking dates, I read the story c 1975, soon after Britten wrote the opera, and well before I knew Britten as anything other than the guy who wrote Young Person's Guide to the Orchestra.] Mann's story is itself such a masterpiece that it's hard for me to see it translated into another medium.]

BTW,  The Turning is nearing release. It alleges itself to be based on thd original James novel.

I've never read the Mann novella, so I have no problems getting into the musical narrative set by Britten. I used to read A LOT when I was a teenager, but between work and school, I never found the time to really commit myself to reading as much as many here have. I chose to devote a lot of my time listening to music since it's my passion. I don't mean to make this post about me, but these days, when I do read, it's usually a biography of a composer or something else that's non-fiction. I would, however, like to get more into poetry as I identify more with the form rather than a long story. I think it would be a good idea to put the Mann novella out of your mind when you're listening to Death in Venice. The atmosphere that Britten was able to conjure up to support his narrative is nothing short of mesmerizing. This is late Britten in full glory.

Thread duty -

Barber
Cello Sonata, Op. 6
Poltéra
Stott



I recall that Barber didn't think much of this work and I never understood really why this was the case. The maturity of the music itself and the fact that he was a mere 19 yrs. old when he composed this work makes it even more incredible to me. There's a deep sense of yearning in this work as if something had been eating away at him for quite some time and this work was nothing more than a vessel to get those feelings out. The craftsmanship of the work, though, shows that it wasn't composed in haste. I continuously draw parallels between Britten and Barber as both composers wrote some very good music as teenagers and both matured and reached their peak around the same time. Of course, I think both composers never lost anything in their late periods. Barber's late period is rather uneventful as not many works came out of him following the failure of his opera, Antony and Cleopatra, but I still believe there's much to savor and enjoy in his oeuvre post-Antony.

[Madiel]

Mozart, String Quintet in C

[Mirror Image]

One more work before bed:

Barber
Despite & Still, Op. 41
Hampson
Browning



One of the later song cycles that Barber wrote. Hauntingly beautiful music. Performances are also top-drawer from Hampson and Browning. The expression they achieve and put into the music is pure ecstasy.

[steve ridgway]

First listen to Ligeti's piano Etudes. A lot of interesting, complex rhythms and patterns going on here. I can see myself coming back to this a bit.

[asin] B07MCW81MK[/asin]

[Florestan]

Humoresques, Op. 101

A first listen to this work, and am truly delighted!! This is mercilessly tuneful and gracious, even nostalgic. What lovely pieces. Seems like Dvorak will be my next composer to explore his piano works.

Dvorak's piano woks are all great but my favorite are the Eclogues op. 56 / B. 103. Give them a try.

TD



Disc 2

Bilder aus Osten op. 66
Ballszenen op. 109
Kindersball op. 130

Such warm and beautiful music! Despite the demons haunting him, Schumann must have remained a child at heart all through his life. One of the most humane and companionable composers I know.

[Que]

Q