What are you listening 2 now?

[Florestan]

With Mahler, I understood almost everything right away

Same here.

Three genres that have really opened up for me in the past 4-5 years have been songs/lieder/melodies, solo piano and opera.

Excellent. Each of them is a world unto itself.

[Mirror Image]

Same here.

Excellent. Each of them is a world unto itself.

Without a doubt and one giant rabbit hole for each genre.

[Traverso]

Mozart

"Gran Partita"

A recording that I love from my childhood, the wonderful sonorous sounds lead to rapture almost immediately. Still my favorite recording

[André]

I much prefer Soler on the harpsichord than on the piano. And among those I've heard none creates a sound world as 'orchestral' as Rowland. Truly gorgeous - music, interpretation and recorded sound.

[Iota]

Schumann: Piano Sonatas Op.118 Nos.1 & 2


Le Sage is brilliant at adjusting to whatever sits in front of him throughout his Schumann cycle. These are lovely, light miniatures that he plays with irresistible charm and little pockets of tenderness at perfectly timed moments.

[Carlo Gesualdo]

Hello, I am listening to Lambert DE Sayve, a fifth generation Franco-Flemish composer  of might & brilliance, The one on RICERCARE label done by ''Choeur de chambre de Namur, it's excellent, like the release by Capella Flamenca too a lot.

What do you think of DE Sayve, to my knowledge these are the only album in CD media am aware of, this is sad a composer of such ''grandeur'', someone should record more of his work, to my knowledge there is only one more recording whit DE Sayve on SUPRAPHON an LP and that it.

Are there any more CD media album of this composer that did not heard about please tell me?

Fifth Generation Franco-Flemish are very interesting, don't you think.

[Mandryka]

My morning listening (bolded are my favorites):
Annika Socolofsky - One wish, your honey lips
Michele Zaccagnini - Quiet chaos
Anahita Abbasi - love is essential
Anne Hui-Hsin Hsieh - Song, for a particular space, lingering while dissipating
Joel Thompson - After
Anna Appleby - 13.8 billion years
Yushun Pei - For Luna
Tansy Davies - Yoik
Talia Erdal - Ballade for the death of a dove
George Gurdjieff - Chant (not living)
Anna Appleby - Hrakningar
Julius Eastman - Wild up (not living)
Soosan Lolavar - undone
Michaela Catranis - MANIC
Geri Allen - Unconditional love (not living)
Amy Beth Kirsten - she is a myth
Augustin Braud - Little adventurer
Luis Fernando Amaya - En esta linea contengo un bosque
kimia koochakzadeh-yazdi - unpinned momentum

Have you heard this? I like it very much

https://www.youtube.com/v/DEnDpm3IjpM

[Karl Henning]

Varèse: Octandre [Chailly]





This is a work that I really like for its textures and atmosphere.

Delighted to see you grooving to Varèse, my friend.

[North Star]

G'day, Karl!

Thread-duty - First-listen

Schreker
Der Geburtstag der Infantin, Tanzpantomime nach einem Märchen von Oscar Wilde für Kammerorchester (1908-1910)

Schulhoff
Die Mondsüchtige, Tanzgroteske in einem Aufzug von Vítězslav Nezval (1925)

Hindemith
Der Dämon, Tanzpantomime in zwei Bildern von Max Krell, Op. 28 (1923)

Gewandhausorchester Leipzig
Lothar Zagrosek

[Iota]

... 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.

Oh my, thanks for posting! Philistine that I am, I just listened to the last movement, and Haitink is absolutely magnificent! I don't think I've ever heard it played as well! I find he has just the right amount of ardent-ness at just the right places! As soon as I have time I'll be going back to listen to the whole thing!

As I was referring to just the last movement, I cut out the majority of your post, but wanted to say it all made fascinating reading, thank you. 

[André]

Winterreise was something of an obsession for Fischer-Dieskau. He sang it from the forties to the nineties. I count at least 6 commercial recordings: Moore (2), Demus, Barenboim, Brendel, Perahia. This one is the second with Moore, recorded in 1971. I don't know that there were significant differences in interpretation over the decades. Like Karajan, once Fi-Di's interpretation of a work was set in his mind, he didn't change it. The voice though did undergo a decline in the 1980s. So, why did he keep re-doing it ? Like I said, he was obsessed with these songs and the challenge of a reinterpretation with another partner (that's what lies behind the misnomer 'accompanist') kept egging him on. Personally I find my interest sagging in the middle songs of the cycle. Fortunately the singer it at his peak here, and Moore is a superb accompanist (or partner, as you will). The whole set of three song cycles is a must in any collection. It's from this box set (paper envelopes, booklet with notes, texts and translations, slim cardboard case - ideal format):

[vandermolen]

Dutilleux: Symphony No.1

[Mirror Image]

G'day, Karl!

Thread-duty - First-listen

Schreker
Der Geburtstag der Infantin, Tanzpantomime nach einem Märchen von Oscar Wilde für Kammerorchester (1908-1910)

Schulhoff
Die Mondsüchtige, Tanzgroteske in einem Aufzug von Vítězslav Nezval (1925)

Hindemith
Der Dämon, Tanzpantomime in zwei Bildern von Max Krell, Op. 28 (1923)

Gewandhausorchester Leipzig
Lothar Zagrosek

Fantastic! The Hindemith and Schulhoff were especially noteworthy.

[Mirror Image]

Winterreise was something of an obsession for Fischer-Dieskau. He sang it from the forties to the nineties. I count at least 6 commercial recordings: Moore (2), Demus, Barenboim, Brendel, Perahia. This one is the second with Moore, recorded in 1971. I don't know that there were significant differences in interpretation over the decades. Like Karajan, once Fi-Di's interpretation of a work was set in his mind, he didn't change it. The voice though did undergo a decline in the 1980s. So, why did he keep re-doing it ? Like I said, he was obsessed with these songs and the challenge of a reinterpretation with another partner (that's what lies behind the misnomer 'accompanist') kept egging him on. Personally I find my interest sagging in the middle songs of the cycle. Fortunately the singer it at his peak here, and Moore is a superb accompanist (or partner, as you will). The whole set of three song cycles is a must in any collection. It's from this box set (paper envelopes, booklet with notes, texts and translations, slim cardboard case - ideal format):

To the bolded text, this of course if one likes Schubert and I'm afraid I haven't acquired the taste yet. Schumann, however, is remarkable and I need to get into his lieder.

[aligreto]

Miaskovsky: Symphony No. 4 [Svetlanov]





I really like the opening to the fourth symphony. It has a haunting poignancy, or a certain yearning to it. Once again the orchestration is wonderful here. I particularly like the scoring for the woodwinds and brass.

[aligreto]

Mozart

"Gran Partita"

A recording that I love from my childhood, the wonderful sonorous sounds lead to rapture almost immediately. Still my favorite recording

Mozart wrote wonderful music for wind instruments.

[aligreto]

I much prefer Soler on the harpsichord than on the piano.

I definitely agree with that.

And among those I've heard none creates a sound world as 'orchestral' as Rowland. Truly gorgeous - music, interpretation and recorded sound.

I also readily agree with that. I have the full cycle and I find it excellent.

[aligreto]

Delighted to see you grooving to Varèse, my friend.

A very unexpected pleasure, Karl.

[aligreto]

Winterreise was something of an obsession for Fischer-Dieskau. He sang it from the forties to the nineties. I count at least 6 commercial recordings: Moore (2), Demus, Barenboim, Brendel, Perahia. This one is the second with Moore, recorded in 1971. I don't know that there were significant differences in interpretation over the decades. Like Karajan, once Fi-Di's interpretation of a work was set in his mind, he didn't change it. The voice though did undergo a decline in the 1980s. So, why did he keep re-doing it ? Like I said, he was obsessed with these songs and the challenge of a reinterpretation with another partner (that's what lies behind the misnomer 'accompanist') kept egging him on. Personally I find my interest sagging in the middle songs of the cycle. Fortunately the singer it at his peak here, and Moore is a superb accompanist (or partner, as you will). The whole set of three song cycles is a must in any collection. It's from this box set (paper envelopes, booklet with notes, texts and translations, slim cardboard case - ideal format):

The voice of Fischer-Dieskau comprises a large part of my Schubert Lieder collection.

[Traverso]

Mozart wrote wonderful music for wind instruments.