What are you listening 2 now?

[SonicMan46]

It's there... 

https://open.spotify.com/album/3sBsq0dBrLDWGYMlLxT9r5

OK - I'll take another look, but in the meantime and following in your footsteps, some older Jean-Marie Leclair recordings - Dave

 

[Mirror Image]

NP:

Zorn
Necronomicon
Crowley Quartet

[prémont]

Ewald Kooiman plays on a Joseph Gäbler organ 1750, Klosterkirche Benediktinerabtei,  Weingarten, Germany

I am not a great fan of this organ. I find the voicing complicated, and it somehow does not sound comfortable, I miss the balance, and this harmonious tinge. Furthermore, recording in this venue seems to be complicated, for I did not hear a recording yet of this organ, that made me sit up. I find the Clavierübung a bit driven, as if Kooiman does not take its time to develop the music. I miss dedication, and find the uneven tempi bothersome.  Well it cannot be all perfect, although the organ was a wrong choice. And to be honest I somehow feel that Kooiman was not happy about it either. Sound on this first volume is mediocre.

Yes, this is certainly the weakest part of Kooiman's Coronata set. He seems most uncomfortable with the organ and/or venue. All the same I have heard (and owns) recordings by several organists, which pay better attention to the great organ and the difficult acoustics and which actually are rather listenable. Already Isoir's CÜ III on the same organ is far better recorded, but there are many others (Heinrich Hamm, Günther Fetz, Walter Kraft, Jean Costa, Stefan Johannes Bleicher e.g.).

[Karl Henning]

Ernst Toch: 6th & 12th String Quartets.



Neglect is mostly for a reason but listening to these two quartets maybe Toch is undeserving of such treatment. The early 6th, composed when Toch was a seventeen year old schoolboy in Vienna (shades of Korngold?) is tuneful and classical, the first movement has echoes of Dvorak's "American" quartet. The 12th composed after his emigration to America is modern but not a difficult listen, in fact I enjoyed the work immensely. I am not a musician so unable to describe music itself but although these quartets are worlds apart (literally) there was a common musical thread to both that I found interesting and particular to the composer.     

Nice!

[PaulR]

One benefit from working from home: Easier to listen to music while "working"

[Harry]

Yes, this is certainly the weakest part of Kooiman's Coronata set. He seems most uncomfortable with the organ and/or venue. All the same I have heard (and owns) recordings by several organists, which pay better attention to the great organ and the difficult acoustics and which actually are rather listenable. Already Isoir's CÜ III on the same organ is far better recorded, but there are many others (Heinrich Hamm, Günther Fetz, Walter Kraft, Jean Costa, Stefan Johannes Bleicher e.g.).

Isoir's take is indeed much better, also recording wise, for I took that today out my collection to compare. Thank you for confirming my impressions.

[Karl Henning]

Well, I'm listening to Haydn. Surprised?

"Papa"
Symphonies nos. 93 in D, 94 in C « La Surprise », 95 in c minor, 96 in D « Le Miracle », 97 in C & 98 in G
NY Phil
Lenny

[PaulR]

I cant say it's a miracle.

[aligreto]

Dvorak: Bagatelles for Two Violins, Cello and Harmonium





Sometimes, when the mood is just not up to really serious listening, these Bagatelles will just fit the bill. Deeply rooted in folk music they are very lyrical and very engaging.

[Mirror Image]

NP:

Zorn
The Turner Études
Stephen Gosling

[Brahmsian]

Dvorak: Bagatelles for Two Violins, Cello and Harmonium





Sometimes, when the mood is just not up to really serious listening, these Bagatelles will just fit the bill. Deeply rooted in folk music they are very lyrical and very engaging.

Such a highly enjoyable work.

[Que]

OK - I'll take another look, but in the meantime and following in your footsteps, some older Jean-Marie Leclair recordings - Dave

 

I really should spend some more time exploring Leclair myself. 

[Carlo Gesualdo]

ComposerS on RICERCAR CONSORT

[asin]BACH, TELEMANN, BOXBERG, RIEDEL TRAUERKANTATEN[/asin]

Super I have grown now a taste for early to mid Baroque music.

[André]

I prefer this version to all others even though I usually favour a tenor sound rather than a baritone in this work. FiDi's way with songs like Das Wandern, Ungeguld, and Des Müllers Blumen is so right vocally and his delivery so simple yet deeply felt that in comparison most others sound like they're trying too hard.

[Karl Henning]

I cant say it's a miracle.

That's fair!

[Carlo Gesualdo]

Greetings folks tonight listening to mister Fayrfax, a great composer of English renaissance. I'm listening to ensemble prodige & prestige of The Cardinall's Music all his masses. Goodnight.                     


He was born in Deeping Gate, Lincolnshire. He had the patronage of the leading cultural figure of Henry VII's court, the king's mother Lady Margaret Beaufort (1443-1509).He became a Gentleman of the Chapel Royal by 6 December 1497.He was granted a chaplaincy of the Free Chapel at Snodhill Castle, a post which was given away a year later to Robert Cowper, another Gentleman. He is reported as being organist of St Albans Abbey responsible for the music there from 1498 to 1502.Fayrfax gained a Mus.B. from Cambridge in 1501, and a Mus.D. in 1504; he later acquired a D.Mus. from Oxford (by incorporation) in 1511.[3] He became a member of the Fraternity of St Nicholas in 1502.

At the beginning of his reign in 1509, Henry VIII granted Fayrfax the annuity of a farm in Hampshire and later made him a 'Poor Knight of Windsor' (with a life-time award of twelve pennies a day) on 10 September 1514. He also possessed, and surrendered, two ecclesiastical livings. He received payments for clothes for state occasions and for tutoring choirboys. From 1516, for four consecutive years, he presented the king with collections of his compositions and received financial rewards.In 1520 he led the Chapel Royal in the state visit to France of the Field of the Cloth of Gold. He died in 1521, possibly at St. Albans, where he was buried.[1]

Work and influence
His surviving works are six masses, two Magnificats, thirteen motets, nine part-songs and two instrumental pieces. His masses include the 'exercise' for his doctorate, the mass O quam glorifica. One of his masses, Regali ex progenie, was copied at King's College Cambridge and three other pieces (Salve regina, Regali Magnificat, and the incomplete Ave lumen gratiae) are in the Eton Choirbook. One of his masses, O bone Jesu, commissioned by Lady Margaret Beaufort, is considered the first Parody mass.

He has been described as 'the leading figure in the musical establishment of his day' and 'the most admired composer of his generation's. His work was a major influence on later composers, including John Taverner (1490–1545) and Thomas Tallis (1505–85)

[Karl Henning]

I just hope DavidW is sitting down...

I am bowled over, and indeed astounded to find just how much I dig this:

Mahler
Symphony № 8
Erna Spoorenberg, Gwyneth Jones & Gwenyth Annear, sopranos
Anna Reynolds, mezzo
Norma Procter, contralto
John Mitchinson, tenor
Vladimir Ruždjak, baritone
Donald McIntire, bass
Leeds Festival Chorus
Finchley Children's Music Group
Highgate School Boys' Choir
Orpington Junior Singers
London Symphony Orchestra & Chorus
Organ: Hans Vollenweider
Lenny

"Papa"
Symphonies nos. 98 in B^b & 99 in E^b« Le Chat »
NY Phil
Lenny

[Daverz]

Another great Leshnoff disc from Naxos:



I was particularly impressed by the 11 minute piece Distant Reflections (not listed on the cover.)  Lovely work.

[Carlo Gesualdo]

Lassus,- Laments of Job- on Harmonia  Mundi two LP's set great stuff, rare double vinyl never put on CD so far has re editions goes, my copy his mint fresh & wash  professionally by me, why my vinyl cleaner gear and my blue stuff product based  among others thing, insane good result they look like mint , play whit charm of awesome analogy smooth and very good no needles itching cracks.

[Mirror Image]

I just hope DavidW is sitting down...

I am bowled over, and indeed astounded to find just how much I dig this:

Mahler
Symphony № 8
Erna Spoorenberg, Gwyneth Jones & Gwenyth Annear, sopranos
Anna Reynolds, mezzo
Norma Procter, contralto
John Mitchinson, tenor
Vladimir Ruždjak, baritone
Donald McIntire, bass
Leeds Festival Chorus
Finchley Children's Music Group
Highgate School Boys' Choir
Orpington Junior Singers
London Symphony Orchestra & Chorus
Organ: Hans Vollenweider
Lenny

Wow...Karl. Quite surprising, indeed. The 8th is my least favorite Mahler symphony, but, in all fairness, I haven't really listened to it in ages. I should rectify this soon.