What are you listening 2 now?

[vers la flamme]

Bedřich Smetana: Má Vlast. Paavo Berglund, Staatskapelle Dresden

Man, what a band. I think I once read somewhere that Berglund considered this to be his best recording because it's the one he recorded with the best orchestra, in his eyes, of course. I didn't click with this recording much at first, and I chalked it up to an unidiomatic performance, but I'm sure I was wrong. I find it quite subtle compared to some of the recordings I've heard with Czech forces though.

[SimonNZ]

on the radio: Sinfonietta

[Carlo Gesualdo]

I'm enjoying a Bardinet a French Brandy , just a glasse on thin ice, see...

And Heralding this month ,Perre-Luigi Giovanni Da Palestrina, whit incredible Linn record record PhilipCave Direction songs of songs and on musique d'abord label Palestrina's Missa Viri Galilael, wich is a very special mass of it'S own don't ya think?

[Mirror Image]

Korngold: Piano Quintet in E major, Op. 15

From this new acquisition -

[TheGSMoeller]

No.40 from Ensemble Resonanz and Minasi. This performance is en fuego.

[Mirror Image]

Shchedrin: Concerto cantabile

[Todd]

[cc-30-12-33]

I've been listening to Camille Saint-Saens. In particular, "Danse Macabre."  Believe it or not it was my Elementary School music teacher that turned me on to this work, so many years ago.  I've been listening to different covers of it. I'll have to say there was one cover where the main melody (i.e. "Death") was played as a xylophone, rather than a violin.     I think I get what they were going for, and it was a valiant effort, but I couldn't finish listening to it.  Death has to be a violin, especially at the very end where he has to show the "emotion/sadness" after the cock crows... 

[Symphonic Addict]

Two quite interesting late pieces that require more listens in order to assimilate them better. The Concerto for orchestra features rich sonorities and textures with a superb and clever use of the orchestra. The first movement is for wind, brass and percussion, the 2nd for strings accompanied by harp and orchestral piano and the 3rd combines all the forces. The Triple Concerto is a tougher nut to crack, but somehow I did find it enjoyable. I especially liked the languid and intriguing 3rd movement with the gong making some interesting appearances. I've noticed that percussion has a prominent role in late Tippett and these works show that very well.

[JBS]

The 2 String Quintets*
The Clarinet Trio**
The Clarinet Quintet***
[asin]B00008RWRG[/asin]
Amadeus Quartet
with
Cecil Aronowitz viola II*
Christoph Eschenbach piano**
Karl Leister clarinet***

[Mirror Image]

Two quite interesting late pieces that require more listens in order to assimilate them better. The Concerto for orchestra features rich sonorities and textures with a superb and clever use of the orchestra. The first movement is for wind, brass and percussion, the 2nd for strings accompanied by harp and orchestral piano and the 3rd combines all the forces. The Triple Concerto is a tougher nut to crack, but somehow I did find it enjoyable. I especially liked the languid and intriguing 3rd movement with the gong making some interesting appearances. I've noticed that percussion has a prominent role in late Tippett and these works show that very well.

Probably my favorite late Tippett work, besides The Rose Lake, is the Triple Concerto, but I'm, of course, most fond of his earlier works like that exquisite Double Concerto. One of the greatest English string orchestral works.

[Symphonic Addict]

Probably my favorite late Tippett work, besides The Rose Lake, is the Triple Concerto, but I'm, of course, most fond of his earlier works like that exquisite Double Concerto. One of the greatest English string orchestral works.

His early pieces appeal to me the best too but I'm also in the process to appreciate his late pieces. The Double Concerto and the Fantasia concertante on a theme of Corelli were radical revelations when I first heard them. Sublime music indeed.

[Mirror Image]

His early pieces appeal to me the best too but I'm also in the process to appreciate his late pieces. The Double Concerto and the Fantasia concertante on a theme of Corelli were radical revelations when I first heard them. Sublime music indeed.

I went through a pretty big Tippett phase many years ago. I have to say I rather enjoyed getting to know his oeuvre. While I wouldn't rate him as highly as Britten, I think when he tapped into something beautiful, it stays with you long after the work has finished.

Thread duty -

Serenade in G major

[vandermolen]

I've been listening to Camille Saint-Saens. In particular, "Danse Macabre."  Believe it or not it was my Elementary School music teacher that turned me on to this work, so many years ago.  I've been listening to different covers of it. I'll have to say there was one cover where the main melody (i.e. "Death") was played as a xylophone, rather than a violin.     I think I get what they were going for, and it was a valiant effort, but I couldn't finish listening to it.  Death has to be a violin, especially at the very end where he has to show the "emotion/sadness" after the cock crows...

I've always enjoyed that work.
Welcome to the forum by the way.

[aukhawk]

A recurring image from these pages -



Boiler-suit porn. 

[Thom]

Me too Thom. Sainton witnessed the death of a child in a bombing raid on Bristol in World War Two. 'Nadir' grew out of that as well as his surmise that he was doomed to a life of frustration in that his musical ambition would never be fulfilled. He believed strongly in astrology and saw this as his fate. And yet, 'Nadir' is a wonderfully defiant work which, towards the end quotes the Beethoven's 5th Symphony 'V for Victory' motto theme. I find this work, despite its brief duration, to be very moving:

Here it is:
https://m.youtube.com/watch?v=jirM8hWkkdA

Thanks for the link, Jeffrey. I now understand what you mean with "doom-laden, though redemptive".
This piece is not easy accessible to me but I will listen again.
By the way, amazing how much is to be found on YouTube. I learned to save music tracks with the (free) ClipGrab app which can be handy. Music quality is decent.

[Thom]

Louis Glass (1864-1936), Symphony 4

[Que]

Before:

[asin]B01ICDQPBO[/asin]
The harpsichord sonatas, played by Mara Fanelli on a French-style harpsichord by Keith Hill after Pascal Taskin 1769.

Now:



Q

[Harry]

Before:

[asin]B01ICDQPBO[/asin]
The harpsichord sonatas, played by Mara Fanelli on a French-style harpsichord by Keith Hill after Pascal Taskin 1769.

Now:



Q

Both fine recordings

[vandermolen]

Thanks for the link, Jeffrey. I now understand what you mean with "doom-laden, though redemptive".
This piece is not easy accessible to me but I will listen again.
By the way, amazing how much is to be found on YouTube. I learned to save music tracks with the (free) ClipGrab app which can be handy. Music quality is decent.

That's useful to know. Glad the Sainton was on interest Thom.