What are you listening 2 now?

[Harry]

Good morning all,

Some British Overtures to start the day :

Both volumes on my order list, so many rarities of renown composer, a must have me thinks!

[Harry]

Arrived in my postbox today.

Johann Krieger.
Complete Harpsichord and Organ Music.
CD I. Solely dedicated to the Harpsichord.

Sechs Musicalische Partien. (Nuremberg 1697)
Partitas 1-VI.
Alejandro Casal, Harpsichord.
The Instrument used in this recording, (after Christian Vater, 1738) is derived from the original, and not a close copy. ( Original is a small brass scaled single manual instrument with a keyboard range of (GG/HH-e) it is enlarged, a double manual is added with EE-f range, 2×8 and 1×4 strung in brass.

[Papy Oli]

Both volumes on my order list, so many rarities of renown composer, a must have me thinks!

A first listen for me, quite an enjoyable one. Didn't realise there was a second volume. It's added to the streaming queue, thank you Harry.

[Madiel]

Schumann, Märchenerzählungen, op.132



One of Schumann's last works. And he's supposed to have lost his gifts? Utterly beguiling.

[Harry]

A first listen for me, quite an enjoyable one. Didn't realise there was a second volume. It's added to the streaming queue, thank you Harry.

Your welcome my friend!

[Papy Oli]

Ariosti - Stockholm sonatas Vol.1

[pjme]

Kurt Bertels second historical saxophone cd: works for sax and piano.



François-Joseph Fétis (1784-1871) created the saxophone department at the Brussel Conservatory and installed clarinetist Nazaire Beeckman (1822-1900) as it first professor in 1866. Beeckman was succeeded by Charles Poncelet (1845-1903) and both were responsible with training saxophonists, mainly for Belgium's military bands.
Bertels' (1898) Buffet et Crampon alto sax is a very smooth, delicate instrument, very woodwind-like.
The works presented are almost all in late romantic, salon-style, often virtuosic, sweetly sentimental or a bit quirky.
Charles Poncelet "Hérodiade" is at 13.38 mins, the longest piece and would sound well, I guess, with an opulent orchestration.
Paul Gilson's "Improvisation" and Joseph Jongen's very beautiful "Méditation" are  both transcriptions by the composers (resp. violon/piano and cor anglais/piano).
To be savoured in small doses...

https://etcetera-records.com/album/735/saxophone-19th-century-brussels

[Traverso]

Lutoslawski

Symphony No.3
Les espaces de sommeil

[Todd]

The big box mixes 1 & 2.  Perfectly pleasant.

[Iota]

Ives: Symphony No.2

Bernstein, NYPO


Ives called the second symphony one of his 'soft' works, and in the light of the later works it's not hard to see why. Perhaps its famous last chord is an ironic comment on the ambiguity he felt about it? He refused to go to its premiere with Bernstein in 1951 (50 years after it was composed). His wife went instead.

'In legend, [Ives] heard it on the maid's radio and did a little dance of joy afterward. In reality he was dragged next door to the Ryders' to hear the broadcast and, unlike similar occasions, sat quietly through the whole thing. It was one of his soft pieces, as he called them; it was also perhaps the warmest audience reception of his whole life. As cheers broke out at the end everybody in the room looked his way. Ives got up, spat in the fireplace, and walked into the kitchen without a word. Nobody could figure out if he was too disgusted or too moved to talk. Likely it was the latter.'

And though there's plenty within this more traditional landscape I admire and enjoy, I'm certainly glad he subsequently went in the direction he did, writing such striking and intriguing music that pioneered and expanded the horizons of expressive possibility.

[Harry]

Arrived this morning.

Gustav Jenner.
Piano Works.
Solvejg Henkhaus, Piano.

Drei Balladen.
Thema und Variationen.
Acht Stimmungen.
Unmilitärisches für Klavier.

[Papy Oli]

Another run through this one :

[Pohjolas Daughter]

Ives: Symphony No.2

Bernstein, NYPO


Ives called the second symphony one of his 'soft' works, and in the light of the later works it's not hard to see why. Perhaps its famous last chord is an ironic comment on the ambiguity he felt about it? He refused to go to its premiere with Bernstein in 1951 (50 years after it was composed). His wife went instead.

'In legend, [Ives] heard it on the maid's radio and did a little dance of joy afterward. In reality he was dragged next door to the Ryders' to hear the broadcast and, unlike similar occasions, sat quietly through the whole thing. It was one of his soft pieces, as he called them; it was also perhaps the warmest audience reception of his whole life. As cheers broke out at the end everybody in the room looked his way. Ives got up, spat in the fireplace, and walked into the kitchen without a word. Nobody could figure out if he was too disgusted or too moved to talk. Likely it was the latter.'

And though there's plenty within this more traditional landscape I admire and enjoy, I'm certainly glad he subsequently went in the direction he did, writing such striking and intriguing music that pioneered and expanded the horizons of expressive possibility.

Interesting story Iota!  Thanks for taking the time to share it with us.     One wonders whether or not he wished that he had gone to the concert?

PD

[Mahlerian]

Obrecht: Missa Caput
Oxford Camerata, dir. Summerly

[André]

Kurt Bertels second historical saxophone cd: works for sax and piano.



François-Joseph Fétis (1784-1871) created the saxophone department at the Brussel Conservatory and installed clarinetist Nazaire Beeckman (1822-1900) as it first professor in 1866. Beeckman was succeeded by Charles Poncelet (1845-1903) and both were responsible with training saxophonists, mainly for Belgium's military bands.
Bertels' (1898) Buffet et Crampon alto sax is a very smooth, delicate instrument, very woodwind-like.
The works presented are almost all in late romantic, salon-style, often virtuosic, sweetly sentimental or a bit quirky.
Charles Poncelet "Hérodiade" is at 13.38 mins, the longest piece and would sound well, I guess, with an opulent orchestration.
Paul Gilson's "Improvisation" and Joseph Jongen's very beautiful "Méditation" are  both transcriptions by the composers (resp. violon/piano and cor anglais/piano).
To be savoured in small doses...

https://etcetera-records.com/album/735/saxophone-19th-century-brussels

And of course the instrument itself was created by the belgian, Adolphe Sax.

The creator and his instrument in front of his home in Dinant, Belgium.



I've sat next to Monsieur Sax a few times  .

Dinant, home of the saxophone:

[Pohjolas Daughter]

And of course the instrument itself was created by the belgian, Adolphe Sax.

The creator and his instrument in front of his home in Dinant, Belgium.



I've sat next to Monsieur Sax a few times  .

Dinant, home of the saxophone:

Cool photos!  Love the statue on the bench in particular!  I suspect that a number of people have had their photograph taken sitting next to him.   

PD

[Traverso]

Debussy

"Childrens Corner"

[Iota]

One wonders whether or not he wished that he had gone to the concert?

My own feeling would be probably not, as he'd be receiving applause for something he no longer really felt connected with. But purely speculative of course.

[vandermolen]

Cool photos!  Love the statue on the bench in particular!  I suspect that a number of people have had their photograph taken sitting next to him.   

PD

+1 Great photos!

[Harry]

Recent arrival.

The Organ of the Badia Fiorentina.

Works by: Giovanni Gabrieli, Girolamo Frescobaldi, Bernardo Pasquini, William Byrd, Giles Farnaby, Jan Pieterszoon Sweelinck, Heinrich Scheidemann, Francisco Correa de Arauxo.

Giovanna Riboli plays on a Onofrio Zeffirini Da Cortona Renaissance organ.(1558)
Quarter comma meantone temperament.
Pitch=456,6 Hz at 22 C.
In 1978 the organ was restored and returned into its original state.