What are you listening 2 now?

[Karl Henning]

Test-drive Tuesdays:

Dutilleux
Sonate pour piano
Jn Ogdon

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Test-drive Tuesdays:

Dutilleux
Sonate pour piano
Jn Ogdon

Cool!

Thread duty -

Ravel
Chansons madécasses
Jan DeGaetani et. al.

[Symphonic Addict]

All what I've heard from Linde has been quite compelling to say the least.

[Symphonic Addict]

Balakirev - Piano Concertos

Balakirev wrote few works, among them these quite good concertos.

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NP:

Hindemith
Ludus tonalis
McCabe

[André]

Some wonderful music pepper this score. My favourite bit is Amenaide's scena e cavatina from Act II, scene IV.

[Daverz]

Haydn: Symphony No. 31 'Hornsignal' (yes, really!)

One of my favorite Haydn discs.

TD: The Four Seasons



Ballet music from I vespri siciliani.

And now:



Symphonies from Wq. 182 and the Cello Concerto in A major.  This is really fine and engaging playing.

[listener]

arrived this morning,
TUBIN: Concertino for PIano and Orch.
Lauri Vainmaa, piano  Estonian Naional S.O.,, Arvo Vollmer, cond.
Concerto for Flute and String Orch.
Marika Järvi, flute   Tallin Chamber O.,  Kristjan Järvi, cond.
Music for Strings
Ostrobothnian Chamber O.  Juha Kagas, cond.
ENESCU: Impressions d'enfance  op. 28
BARTOK: Violin Sonata no.2  SCHULHOFF Violin Sonata no. 2
PLAKIDIS: 2 Grasshopper Dances for solo violn
Gidon Kremer, violin    Oleg Maisenberg, piano

[Todd]

Disc 6.

[Symphonic Addict]

Sinfonia di Soffiatori

This is one of the best symphonies for band I've ever heard. In 16 minutes it says a lot.

[kyjo]

Symphony No. 2

I often forget how Straussian the first movement is. A very buoyant, colourful, lush movement. This performance is remarkable too.

One can also hear that exuberant Straussian schwung in In the South.

[kyjo]

Well Kyle, Prokofiev's 5th Symphony is taken very slowly and at times sounds oddly unidiomatic. Having said that I found Petrenko's approach worked well in the slow movement, especially at the marvellously doom-laden and oppressive climax. On balance I'm glad to have this recording but I prefer Rozhdestvensky's interpretation overall. As for the Miaskovsky, it is a good performance although I found the sound had an oddly boxed-in quality to it and I do not, for example, prefer it to the eloquent David Measham recording on Unicorn, to Morton Gould's pioneering RCA recording or, for that matter to Svetlanov's eloquent version. I do, however, like the fact that the Prokofiev is coupled with the music of his great friend Miaskovsky and, on this basis, I will certainly pick up the recording of Prokofiev's 6th Symphony with Miaskovsky's valedictory 27th Symphony next year.

Thanks, Jeffrey. I'm not quite sure what the point of taking Prokofiev's 5th audaciously slow would be. It's a score full of life and zest which I think would hardly benefit from slow tempi.

[kyjo]

Special note: Yes, I did use the word atonal and I used it with some trepidation as I know that a particular member here has a hissy fit every time the word atonal is uttered in relation to Schoenberg. I'll said it before, but I will say it again: atonal, to me, simply means 'without a key center'. That's it. Nothing more, nothing less.

LOL. I've never understood why some people raise hell whenever the word atonal is used. It's a simple word with an unambiguous definition.

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LOL. I've never understood why some people raise hell whenever the word atonal is used. It's a simple word with an unambiguous definition.

Exactly, Kyle. Samuel Andreyev on YouTube used the word atonal in one of his videos on Schoenberg and he's one of the more intelligent people on there making videos. If he can use it, I'm going to use it and not feel that it's a bad thing.

[T. D.]

LOL. I've never understood why some people raise hell whenever the word atonal is used. It's a simple word with an unambiguous definition.

Some ancestors of this forum (going back 15 to 25 years) had a coterie of posters who frequently badmouthed and railed about "atonal crap". Was that lot ever on GMG?

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Some ancestors of this forum (going back 15 to 25 years) had a coterie of posters who frequently badmouthed and railed about "atonal crap". Was that lot ever on GMG?

The best I can remember, and, granted, I've only been on GMG for 10-11 years, but there were several members here who spoke ill of Schoenberg and his ilk every chance they got, but I think they're all gone now for the most part. Here's what I think and anyone here can disagree with me all they want, which is fine, but I believe that atonal music can be appreciated by anyone who is willing to accept that music had to change in order to grow into something completely anew. Of course, in every movement you have reactionaries, but I think if anyone loves 20th Century music, then they must try to enjoy something from these ardent 'noisemakers' or, at least, find a work you enjoy. I'm at that point where I don't have to make any kind of adjustment when I listen to, for example, Barber and then turn around and listen to Xenakis. To me, it's just great music filtered through a different musical scope. But I think to get to this level of listening, you can't have preconceived notions of what the music is supposed to be and whatever obstacle you have placed in front of your mind, it's important to remember that this obstacle was placed there by you and has absolutely nothing to do with the music. Once someone accepts this, they hopefully can listen without the shudders on. Anyway, this concludes my lecture and remember that the assignment on George Washington is due by Friday. Class dismissed.

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Feldman
Bass Clarinet and Percussion
Carol Robinson (bass clarinet), Françoise Rivalland (percussion), Peppie Wiersma (percussion)



For those here who haven't seen it, Samuel Andreyev did a great analysis on this piece by Feldman. Check it out:

https://www.youtube.com/v/emeDjNSxsCs

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One last work for the night...

Webern
Symphony, Op. 21
Berliners
Boulez

From this magnificent set:

[springrite]

Some ancestors of this forum (going back 15 to 25 years) had a coterie of posters who frequently badmouthed and railed about "atonal crap". Was that lot ever on GMG?

Oh yes, those were the days. We proudly called ourselves AC'ers.

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Okay, one more work for the night -

Hindemith
Sonata for althorn and piano
Teunis van der Zwart (althorn), Alexander Melnikov (piano)