What are you listening 2 now?

[Madiel]

Debussy Symphony in B minor.

Streaming the piano duet version that was composed, and then one of the orchestrations that now exists.

Not quite a lost masterpiece...

EDIT: Also the Andante Cantabile for piano duet, which might possibly belong with the symphony too.

[San Antone]

Erkki-Sven Tüür : Concerto for cello and orchestra (1996)



David Geringas cello
Radio-Symphonieorchester Wien
Dennis Russell Davies conductor
Recorded July and August 1998, ORF Studio, Vienna

Tüür's aesthetic is so fractured that the concerto would seem an anachronism, but his Concerto for Cello and Orchestra (1996) epitomizes the very essence of his craft, planting as it does a single generative seed firmly in the soil of introspection. His background as a rock musician comes through noticeably in his bold rhythmic choices, while the piece's single-movement structure ensures that its signals remain explicitly contained. (between sound and space)

[vers la flamme]

William Alwyn: Symphony No.5, "Hydriotaphia". David Lloyd-Jones, Royal Liverpool Philharmonic Orchestra.

[Iota]

Shostakovich: Cello Concerto No.1

Rather different from Rostropovich/Rozhdestvensky, the opening sounds like somebody attempting to sing their favourite sea shanty while on a dinghy being tossed around in a wild storm. Plenty of electricity and quieter declarations of despair floating around too, the latter quality of which Heras-Casado seems a more natural architect, Weilerstein seems to shine more in tempestuous passages. I like it.




Kapustin: Eight Concert Etudes

No.2 reminds me a little of Chopin C Major etude Op. 10, No. 7. But fun, a few of these at a time like a handful of cashews, tasty and good for the constitution.

[Traverso]

Schubert

Impromptus and variations D.603
Fantasy D 940
Rondo for piano duet D 608
Piano Sonata D960

[vandermolen]

He didn't. We discussed this Overture No. 2 from 1956 at our first meeting, in flat [apartment] in the centre of Tallinn, part of the Soviet-established Composers' House compound (there was a Writers' House compound around the corner, where I interviewed Jaan Kross), July 1993. He told me it had been inspired by Tubin's symphonies as well as by his teachers in Moscow (among them Shebalin IIRC).

Alas, since then I kept him busy and he didn't write any orchestral music anymore (only some choral pieces).   

I might have guessed so! Interesting about the Tubin/Shebalin connection.

The opening of Tubin's 5th Symphony reminds me of the opening of the Tormis work.

[vandermolen]

William Alwyn: Symphony No.5, "Hydriotaphia". David Lloyd-Jones, Royal Liverpool Philharmonic Orchestra.

Fabulous CD (all three works).

[Traverso]

Shostakovich

   
Funeral & Triumphal Prelude, Op.130 (In memory of the heroes of the Battle of Stalingrad)
   
Shostakovich: Symphony No.8 in C minor, Op.65    
 
   
Novorossisk Chimes (The Fires of Eternal Glory), Op.111b


Royal Philharmonic Orchestra and Vladimir Ashkenazy

[vandermolen]

Shostakovich

   
Funeral & Triumphal Prelude, Op.130 (In memory of the heroes of the Battle of Stalingrad)
   
Shostakovich: Symphony No.8 in C minor, Op.65    
 
   
Novorossisk Chimes (The Fires of Eternal Glory), Op.111b


Royal Philharmonic Orchestra and Vladimir Ashkenazy

I had the good fortune to hear Ashkenazy conduct this work (Symphony No. in Liverpool during my student day c.1975/76. It was a very fine and moving performance.

[Mirror Image]

Mahler
Symphony No. 4 in G major
Amanda Roocroft, soprano
Rattle
CBSO

[steve ridgway]

Scelsi - Action Music. My late grandfather Charles Wilson was a teacher of music and religion, church organist and pianist, and I know exactly what he would have said to Mr. Scelsi -"Play the piano properly, or don't play it at all" .

[asin] B00009ZV67[/asin]

[Traverso]

I had the good fortune to hear Ashkenazy conduct this work (Symphony No. in Liverpool during my student day c.1975/76. It was a very fine and moving performance.

I am working through this set and I am very happy with this recording of the eighth.
I also have the recordings of Barshai and Haitink.
At the moment I have to say that I enjoyed his eighth symphony the most.
Tomorrow, if all goes well, his tenth.
I read little positive about these Ashkenazy recordings but I cannot say that I agree.
For many there are few roads that lead to Rome.
If it does not have the rawness of Kondrashin, it is substandard.
It is not the way in which I try to listen to a performance, I try to go along with the intentions underlying the implementation, comparing is only a handicap.
I have heard many good things about the recording of the tenth by Karajan who recorded it twice,I like to hear that too.

I myself once attended a Ashkenazy recital, he was alone and played the Préludes by Chopin.

By the way, it was a good fortune indeed.

[Mirror Image]

I am working through this set and I am very happy with this recording of the eighth.
I also have the recordings of Barshai and Haitink.
At the moment I have to say that I enjoyed his eighth symphony the most.
Tomorrow, if all goes well, his tenth.
I read little positive about these Ashkenazy recordings but I cannot say that I agree.
For many there are few roads that lead to Rome.
If it does not have the rawness of Kondrashin, it is substandard.
It is not the way in which I try to listen to a performance, I try to go along with the intentions underlying the implementation, comparing is only a handicap.
I have heard many good things about the recording of the tenth by Karajan who recorded it twice,I like to hear that too.

I myself once attended a Ashkenazy recital, he was alone and played the Préludes by Chopin.

By the way, it was a good fortune indeed.

I have Haitink and Rozhdestvensky burned into my psyche at this juncture. I don't know, while I don't find Ashkenazy's Shostakovich's really individual or outstanding, it's not a bad cycle, but I can't count it amongst my favorites for the afore mentioned reason. Kondrashin is quite good and I can understand the accolades his cycle continues to garner, but I never fully embraced his recordings in the way I have Rozhdestvensky or Haitink.

[steve ridgway]

Scelsi - Manto. The exotic vocalisations accompanying the viola in part 3 are an interesting touch.

[asin] B004TB6GF4[/asin]

[steve ridgway]

Dozing off with Takemitsu - Spirit Garden.

[asin] B000I8OFYG[/asin]

[Mirror Image]

Mahler
Symphony No. 5 in C-sharp minor
Rattle
Berliners

[Carlo Gesualdo]

Hello this afternoon I'm listening to holy music, missa , because it's Sunday, Lassus  Missa Dixit Joseph.. on cenquencento and the might magic majestic Jacobus Clémens Non Papa and his sacred work of Arisis, beside anyone  other than me notice how good these guys are Boston church for Advent, there Crécquillon was supreme vol 1-2, there so talented the voice are fluid warm natural, harmonic & ethereal music to own and love, if you like the skill of Flemish masters.

[j winter]

I can't listen to this every day, but ye gods this is powerful stuff.  An epic performance, and excellent sound for its age... the microphones must have been placed close to the timpanis, which creates a marvelous (if unnatural) effect when they really get going, it's like they're reaching out the speakers and pulling you along by the scruff of your neck.... outstanding!

[vers la flamme]

Sergei Prokofiev: Piano Sonata No.8 in B-flat major, op.84. Sviatoslav Richter.

[Mandryka]

Hello this afternoon I'm listening to holy music, missa , because it's Sunday, Lassus  Missa Dixit Joseph.. on cenquencento and the might magic majestic Jacobus Clémens Non Papa and his sacred work of Arisis, beside anyone  other than me notice how good these guys are Boston church for Advent, there Crécquillon was supreme vol 1-2, there so talented the voice are fluid warm natural, harmonic & ethereal music to own and love, if you like the skill of Flemish masters.

As far as I can see noone else has recorded any masses by Crecquillon other than The Boston Adevent Choir apart from one thing, Missa Je prens en grets fron Egidius Kwartet. And there there's no Agnus Dei, I don't know if one exists. Is that right? It seems a shame that there aren't more small ensembles exploring the music.

The Sanctus of je prens en grets is weird, like something baroque!

I've been trying to listen to Ockeghem's Missa Ecce Ancilla Domini, but I haven't been able to pay attention, I'm not sure why. But I did notice one thing, it's difficult music, superficially at least large chunks of it seem athematic. I'm sure it's imitative counterpoint, but often I find it hard to hear what it is that's being varied. You can see why Krenek was interested in Ockeghem.