What are you listening 2 now?

Started by Gurn Blanston, September 23, 2019, 05:45:22 AM

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springrite

Quote from: aligreto on April 22, 2021, 01:45:31 AM
JS Bach: Suite No. 6 for Solo Cello [Wispelwey]



I was just listening to this in the car.

My daughter noticed the difference sound, since it's played on a baroque cello (Violoncello Piccolo, was it called?). She commented that "this is wonderful but it sounds like a cello with a bad cold". (I am glad she didn't say COVID).
Do what I must do, and let what must happen happen.

Mirror Image

Quote from: Florestan on April 22, 2021, 10:48:28 AM
Well, I beg to differ from this widespread opinion. Aside from the recurring big, sweeping, soaring tune in the finale of the 1st, there's not much Tchaikovsky in them. I mean, Tchaikovsky's world is the Russian high society, with all its cultural sophistication and human passions; Sibelius' world is the Finnish nature, with all its elemental simplicity and unspoiled dispassionateness. I really don't see much common ground between the two.

That's perfectly a-okay as we're just going to have to agree to disagree. :)

Mirror Image

Quote from: vers la flamme on April 22, 2021, 01:52:44 PM

Richard Strauss: Arias from the operas Die Frau ohne Schatten, Die Rosenkavalier, Die ägyptische Helena, Guntram, etc. Leontyne Price, Erich Leinsdorf, New Philharmonia Orchestra

First listen to this disc. Sounds excellent. I don't know much about Straussian opera but I'd love to hear more of it.

You should definitely rectify this asap. I would start with Elektra, Salome and Der Rosenkavalier --- these are almost self-recommending.

JBS

The last CD of this set.

Sinfonia concertante in G for flute, violin, and orchestra
Overture in D
Symphony in E Flat Op 41
I think Andre was the GMGer who made me aware of this set, so thanks to him!

Hollywood Beach Broadwalk

Mirror Image

I was going to finish Sinopoli's Elektra, but I think I'll save it for another night...

NP:

Strauss
Tod und Verklärung, Op. 24
Concertgebouw
Haitink



Mirror Image

NP:

Sibelius
Tapiola, Op. 112
Philharmonia
Berglund




A Japanese remaster --- sounds quite good.

Mirror Image

NP:

Respighi
Pini di Roma
Philadelphia
Muti




This is such a difficult work to pull off convincingly and without resorting to some kind of pedal-to-the-metal, barnburner and actually bring out the music's lyricism and beauty, which I think Muti and the Philadelphians do remarkably well.

springrite

Quote from: Mirror Image on April 22, 2021, 07:23:56 PM
I was going to finish Sinopoli's Elektra, but I think I'll save it for another night...

NP:

Strauss
Tod und Verklärung, Op. 24
Concertgebouw
Haitink



The best "transfiguration" moment among all the recordings I have heard!
Do what I must do, and let what must happen happen.

Mirror Image

Quote from: springrite on April 22, 2021, 09:19:38 PM
The best "transfiguration" moment among all the recordings I have heard!

Yes, so far I have to say that Haitink has impressed me with his Straussian credentials. Not that I was in any serious doubt of course considering how I love his work with the Concertgebouw.

Irons

Quote from: Papy Oli on April 22, 2021, 07:35:35 AM
From the Frémaux box, recently purchased.

Chabrier - Espana
Debussy - Prélude à l'après-midi d'un faune
Dukas - L'apprenti sorcier



That must be a good box, Olivier. Frémaux made some terrific recordings with his Birmingham orchestra but with all the razzmatazz of his successor they tend to be pushed to the side lines. 
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

Irons

Shostakovich: 4th Symphony.



Kondrashin certainly lets rip in the big first movement. One section was like a gale-force wind from hell! You wonder what turn DSCH would have taken if his wings hadn't been clipped by his Soviet masters after this symphony.

N.B. No extraneous noises.
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

Harry

Starting the morning with this CD.

Jan Zach.
Requiem Solemne.
Vesperae de Beata Virginie.

Musica Florea, Collegium Floreum, Marek Strynel.

Live recording.


A mixed blessing. Well recorded and in general well done.
Quote from Manuel, born in Spain, currently working at Fawlty Towers.

" I am from Barcelona, I know nothing.............."

Que

Morning listening - a return to the "German Lute Music" boxset:



Lute music by Johann Friedrich Daube and Rudolph Straube.
One of the last two discs with recordings by Alberto Crugnola, originally issued on Symphonia and duplicated on the (smaller) "German Lute Music of the 18th Century" set on Christophorus.

Wanderer


Florestan

Quote from: k a rl h e nn i ng on April 22, 2021, 01:07:07 PM
OTOH, I don't remember any of the tunes in the First. But can hum bits of every movement of the Second.

:D
Every kind of music is good, except the boring kind. — Rossini

Harry

Johann Adolf Hasse.

Requiem.
Miserere.
Dresdner Kammerchor & Barockorchester, Hans Christoph Rademann


Why is this again a mixed blessing for me. Guilty are always the female singers in the set, almost never the male singers. Simona Houda Saturova, soprano, and Britta Schwarz, alt, are singing almost on an operatic level, with unnatural vibrato, and some screeching in the bargain. "Qui Mariam absolvisti" is an example were Schwarz is a pain to my ears. Choir and the male singers are all fine. Maybe I should simply stop buying vocal music from this period. Where are the times of Emma Kirkby, or Judith Nelson in the beginning of her career, or even the much admired Maria Zadori?
Quote from Manuel, born in Spain, currently working at Fawlty Towers.

" I am from Barcelona, I know nothing.............."

vandermolen

Quote from: Mirror Image on April 22, 2021, 07:54:56 PM
NP:

Sibelius
Tapiola, Op. 112
Philharmonia
Berglund




A Japanese remaster --- sounds quite good.
My favourite of Berglund's various 'Tapiola' recordings and a fine disc.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

aligreto

Varèse: Intégrales [Chailly]





This is another insight into the wonderfully atmospheric sound world of Varese. I like the drama and tension and the chaotic nature of it.

aligreto

Quote from: Traverso on April 22, 2021, 03:01:13 PM

I did Fergus, but not wihout reservations,it is briljant,impressive and authoritive but the Loriod recording from the Warner set was more to my liking.I was more emotionally touched by her recording.
I did purchase another recording today this time withJean-Rodolphe Kars .
That will defenitely my last Messiaen purchase for now.
It is an older live recording.and seems very special.Well,I will know it tomorrow. :)
My first recording was played by Beroff but after hearing a few other recordings it feels not convincing.
Hearing a few interpretations is very illuminating.
I still have to listen to the first Loriod recording and the one from Peter Hill.
Of course I have to listen again to the Osbourne recording,you never know if you (wiill) change your mind.I,m very curious about Peter Hill with a more poëtical approach.

Yes, Jan, it is all about seeking that interpretation that makes the most meaning of any given piece of music for us. Music is such a visceral thing and affects everyone differently, obviously. Hence the existence of such boards as these.  :)

aligreto

Quote from: springrite on April 22, 2021, 06:09:42 PM



I was just listening to this in the car.

My daughter noticed the difference sound, since it's played on a baroque cello (Violoncello Piccolo, was it called?). She commented that "this is wonderful but it sounds like a cello with a bad cold". (I am glad she didn't say COVID).

You seem to have a very precocious daughter  8)

This set has been one of my favourite interpretations since I first heard it a long time ago. Yes, they are on the contemplative, and sometimes dark, side I feel but I like his approach and playing. It is not over emotional but it certainly is not academic or sterile either. I really like the sound of the instrument used which was caught in a warm acoustic, which very much favours the instrument. I think that he does a particularly fine job in the last suite.
I have not heard his other two interpretations.