What are you listening 2 now?

[T. D.]

Liking this (recently purchased because of low price) more than expected. Will compare with Feldman works of similar duration, starting with

[kyjo]

Dvorak: Cello Concerto in B minor, Op 104 - Alisa Wellerstein cello with the Czech Philharmonic Orchestra conducted by Jiri Belohlavek

A great recording, possibly my favorite that I've heard of the work. It sounds very "Czech" which I love.

[listener]

MENDELSSOHN: Organ Sonatas 2-6 from op. 65
Giulio Piovani, Mascioni organ of the Church of San Giovanni Evangelista, Alessandria
disc plays 65:17, so omitting no.1 is explainable
ELGAR: Cantique op. 3,  Organ Sonata in G op.28, Vesper Voluntaries op. 14
Georgi Alexandrovich MUSHEL: Samarkand Suite
Daniel Justin, Benjamin Saunders    organ of Leeds Cathedral
       both of the above from the Brilliant Organ Box 1
LYAPUNOV: Violin Concerto in d, op.61   Symphony no.1 in b, op. 12
Maxim Fedotov, violin   Russian Philharmonic Orch., Dmitry Yablonsky, cond.

[André]

Symphony no 7, cantata The Heir of the White Mountains, symphonic poem The Wild Dove.

In the first movement of the symphony there is a rare consensus over tempo: everybody conducts it in 10-11 minutes. The only outliers I'm aware of are Giulini RCOA at 12:42, and Zdenek Kosler (12:42 with the Slovak Phil and 12:20 with the Czech Phil). It may not look like a lot but 2 minutes over 10 is a difference of 20%. It's readily apparent as the main theme is stated. Under Giulini the broader tempo goes along with very full textures and generous legato. Under Kosler the effect is radically different: strings play with incisive attacks, winds are sharply pointed, accents bite. What we hear is a spacious tautness. There is simply more air around the notes. The effect is hugely dramatic. Between the two Koslers I slightly prefer the Czech Phil account (pictured above) by virtue of its extra characterful winds and hefty strings. The other movements are more conventionally paced. Indeed, as I mentioned a rare consensus over tempi applies to movements II-IV as well. I know a dozen versions and all come within a minute of each other there - except Giulini RCOA again, who keeps sailing through the work with grandeur and nobility. This 7th is my favourite. The 1964 recording is spacious and well detailed.

The cantata is also well done under Kosler. It's not well known outside of Czechoslovakia (as it was then known), because of its ultra patriotic text. The symphonic poem The Wood Dove is played again with the Czech Phil, this time under the baton of Zdenek Chalabala. His recording of the op 107-110 is a classic and still the yardstick, even though Harnoncourt RCOA offer more dramatic readings. Chalabala's are especially dark and creepy, finding menacing undertones throughout (except in op 109, a more cheerful piece). There too, unusually broad tempi are at work to reveal Dvorak's darker than usual orchestration.

[Handelian]

One of the great recordings of modern music. I won't say I enjoy Webern and Boulez though the Stravinsky and Prokofiev are fab.

[Mirror Image]

NP:

Holiday Diary, Op. 5
Hough

Next up:

Noye's Fludde, Op. 59
Trevor Anthony (speaker), Sheila Rex (mezzo-soprano), Owen Brannigan (bass), Eileen O'Donovan (soprano), Gillian Saunders (soprano), Marie-Therese Pinto (soprano), David Pinto (boy soprano), Kathleen Petch (soprano), Darian Angadi (boy soprano), Caroline Clack (soprano), Merlin Channon (assistant conductor), Stephen Alexander (boy soprano), Margaret Hawes (soprano), Patricia Garrod (soprano)
The Congregation, Chorus Of Animals, English Opera Group
Norman Del Mar, Merlin Channon

From this fabulous box set:

[André]

This time around the symphony struck me as more serious than I had remembered. The ascent to light is long and uneasy but when it comes it is very satisfying. The concerto is given a big-boned, affectionate reading.

[Mirror Image]

Szymanowski's SQ No. 1:

[Symphonic Addict]

Certainly agree. I would say one of the more conventional slow movements he wrote is the Adagio religioso from the 3rd PC. It is achingly beautiful and I think, in some way or another, reveals his own mental state at that time. He was incredibly ill during the writing of this concerto. Given this history surrounding the concerto, I look at this movement as a sign of acceptance of his own demise, but also as a resignation from our world as the composer knew he didn't have much more time.

I kind of share your feeling, John. That movement sounds rather personal and spiritual to me.

[Symphonic Addict]

Schubert: String Quartet No 14 in D minor 'Death and the Maiden' , D 810 - Quartetto Italiano - impassioned account but the Alban Berg Quartet are still my favourite in this work

For me too, in fact, for the last 3 quartets.

[Symphonic Addict]

His String Quartet on this CD is one of the few of my musical choices that my wife enjoys as well:

I've heard his Piano Trio and String Quartet. Very good both, I was very surprised by how engrossing they are.

[Symphonic Addict]

The composer Per Nørgård was a customer in a classical  shop where I once worked, and while buying that set of complete Sibelius symphonies with Maazel, albeit on the Decca Jubilee LPs, he told me he had to, because his old, identical set had been worn out, due to it being played a lot at his home ....

The composer did a good investment for sure.

[Mirror Image]

The composer did a good investment for sure.

What do you think about Nørgård's own music, Cesar?

[Todd]

Needed to listen to a pianist who plays in the stratosphere of pianism.

[Mirror Image]

Korngold
String Quartet No. 3 in D major, Op. 34
Aron Quartett

[vers la flamme]

Béla Bartók: Cantata Profana, Sz.94. Pierre Boulez, Chicago Symphony Orchestra & Chorus

So far so good, though this work has yet to really click with me I think.

[Todd]

[Symphonic Addict]

What do you think about Nørgård's own music, Cesar?

I haven't heard works enough of his thus far to give a more accurate appreciation, but most of his stuff I've heard has been original, sometimes groundbreaking and modernist but approachable. He likes to play with sonorities, timbres and compose for different kinds of ensembles. His first three symphonies and string quartets are the works I have in better esteem. The other day I listened to his piano concerto Concerto in due tempi but I was underwhelmed. Maybe with more listens it could grow on me.

[Symphonic Addict]

Violin Sonata No. 2 in A major

I often forget Roussel composed superb chamber music, and this sonata is a fine instance of that.




Piano Quintet in A major, Op. 81

I consider the first two movements truly exceptional. Pure craftsmanship.

[Mirror Image]

I haven't heard works enough of his thus far to give a more accurate appreciation, but most of his stuff I've heard has been original, sometimes groundbreaking and modernist but approachable. He likes to play with sonorities, timbres and compose for different kinds of ensembles. His first three symphonies and string quartets are the works I have in better esteem. The other day I listened to his piano concerto Concerto in due tempi but I was underwhelmed. Maybe with more listens it could grow on me.

He's a composer that confuses not because his stylistic palette is all the place, but because even with this vast range of styles that he toys around with, I haven't really figured out who he is as a composer. I do like his Symphony No. 3 a lot, but it seems that many people hold this symphony in high regard. I might have to do a deeper dive into his oeuvre and see what sticks and doesn't. Thanks for your feedback. I wasn't sure how you felt about his music.