What are you listening 2 now?

[Mirror Image]

I thought you were done with Shostakovich these days. 

I thought I was too, but I continue to be drawn back into that ice cold, dark cavern.

[Mirror Image]

An incredibly enchanting opera. I don't have that recording, but with Sinopoli on the podium it must be sheer decadence.

Oh most certainly, Cesar. Sinopoli, and Böhm, have given me reason to raise my glass to this marvelous composer's operas.

[Mirror Image]

I haven't heard Haitink's Berlin performance, but I have his Amsterdam (1966), Chicago (2009) and now Munich (2016) ones. The old RCOA Philips interpretation has always been a favourite, magnificently played and smartly conducted, in impeccable sonics. Over the years Haitink's focus seems to have shifted from a first movement-oriented performance to a last movement one. In Chicago the first movement is rather objective, even a mite staid. It's obvious both conductor and orchestra can deliver the goods, but Haitink's sights are firmly set on the last 3 movements. The finale is the thing and the chicagoans are in a trance. Magnificent, but hampered by this overly objective first movement.

In Munich Haitink seems to have developed a slightly different conception, whereas the first movement becomes a symphony unto itself and the other 5 movements gradually develop another sonic edifice that culminates with the Adagio finale. The first movement's marches and extroverted moments get their due but again Haitink makes sure everything remains tightly integrated. It's that movement's slow portions, mysterious, lambent, questing, nocturnal that acquire a new stature. Mesmerizing.

The difference in orchestral culture between Chicago and Munich is absolutely striking here. With the BRSO you not only hear the notes, but you experience a wealth of dynamic shading, a transparency and an ability to project the music's 'notes beyond the notes' that are simply magical. The solo posthorn (a real one) is lambently sounded over the orchestra, as if in a recollection. The english horn in the 4th movement (O Mensch)  has that slight upward glissando that has been introduced in performance by Berthold Goldschmidt and taken up by Rattle and a few other conductors.  It's very subtly done here, as perfectly as it possibly could (it can sound crass if overdone). The finale displays a range of dynamic shading and terracing, a transparency of textures that I have never heard before. Maybe more ardent in Chicago, more luminous, transcendent in Munich.

This may well be Haitink's most perfectly conceived and executed performance of the work, and certainly the most transparently recorded - the sound is stunning in its naturalness.

A fine recording, indeed. I should revisit it at some juncture. Glad to see you enjoyed it, too.

[T. D.]

 
Too weird/modern to post on the opera thread, so posting here. 

[Mirror Image]

Now playing selections from this exquisite recording:

[vandermolen]

The complete symphonies! I was waiting for that set.

Indeed Cesar. I've enjoyed Symphony No.6 so much that I've found it difficult to go beyond it in exploring the nicely presented box set of seven symphonies and other works, although I know the excellent Symphony 5 and the 'Rock Symphony' from earlier releases.

However, I'm now playing something different:
Rimsky Korsakov's Overture on Russian Themes from this immensely enjoyable double CD set:

[vandermolen]

Yeah, now that would be annoying, indeed. If you have this particular Shostakovich Kondrashin set and have time, could you do me a favor? In the last 5-6 seconds of the last movement of the 4th symphony, does your recording have this little pop at the very end? I'd appreciate your feedback here.

I don't have the set John - I think it's very expensive over here. I do, somewhere, have a single Melodiya CD release but I'm not sure that would help.
This is the one that I have:

[Mirror Image]

I don't have the set John - I think it's very expensive over here. I do, somewhere, have a single Melodiya CD release but I'm not sure that would help.
This is the one that I have:

No worries, Jeffrey. As it turns out, everyone who had bought this particular set had the same popping noise. As I mentioned, I'm glad it came at the end of the symphony after everything had faded out.

[springrite]

My 12 year old Kimi and I listened to the York Bowen Viola Concerto twice today. Well, we were just listening to it once, but after I changed to a Hindemith CD, she asked me to put the Bowen back on. "I want to listen to it again, especially the leitmotif in the first movement." She said.

Well, we listened again and I have to admit, maybe I wasn't paying full attention the first time, but the work is absolutely stunning!

[Que]

Morning listening:

[Harry]

Johann Sebastian Bach.

CD V.

Missa BWV 232, Dresdner Missa.

Sampson, Vondung, Johannsen, Berndt.

Gaechinger Cantorey.
Freiburger Barockorchester, Hans Christoph Rademann.

[Irons]

No worries, Jeffrey. As it turns out, everyone who had bought this particular set had the same popping noise. As I mentioned, I'm glad it came at the end of the symphony after everything had faded out.

Out of interest I will give the LP a spin and report back.

Vaughan Williams: 5th Symphony.

[Harry]

Toivo Kuula.

Festive March.
South Ostrobothnian Suite No 1 & 2.
Prelude and Fugue, opus 10.

Turku PO, Leif Segerstam.

[aligreto]

JS Bach: Suite No. 5 for Solo Cello [Wispelwey]

[vandermolen]

Toivo Kuula.

Festive March.
South Ostrobothnian Suite No 1 & 2.
Prelude and Fugue, opus 10.

Turku PO, Leif Segerstam.

What's it like Harry?

[Harry]

What's it like Harry?

An influential critic of his time said: "That in Finland Kuula was now second to none but Sibelius". I think that is driving the argument too much. He is certainly a composer with a gift for fine melodies, and in this this he fits well into his time. Madetoja was a good friend of him, and he said, "Here is a man who knows what he wants and is confident in his powers". Thanks to his teacher Arne Järnefelt Kuula became one of Sibelius's few composition students in 1907. His music met with great success, but his life was short, very short. I like his music, which is akin to Sibelius but nevertheless has its own distinctive character. Dreamy, magical, well formed melodies, and clear lines.

[Que]

.[asin]B012UOD7E4[/asin]
Concerti Grossi IV with Igor Ruhadze and the Ensemble Violini Capricciosi

[Wanderer]

.

[Biffo]

What do you think of the Barenboim set? I would love a Mozart concertos set with the ECO, and there are three I'm interested in: Perahia, Uchida, and the aforementioned.

I am working my way through the set and have reached No 21. It is quite a while since I heard Barenboim in Nos 22 - 27 but I don't remember any of then being among my favourites. In the set so far I have only found two duds - No 16 (may be the work and not Barenboim) and No 21 which I am listening to now -the 1st movement I find a bit lacklustre. Barenboim is probably OK if you want a set to fill in the gaps of the less frequently played works. Perahia is my favourite for No 24 and possibly a better bet to explore for a complete set - I haven't heard all of them.

[Wanderer]

What do you think of the Barenboim set? I would love a Mozart concertos set with the ECO, and there are three I'm interested in: Perahia, Uchida, and the aforementioned.

I like the Barenboim set, but if these are your options, Perahia is the clear choice.