What are you listening 2 now?

[Papy Oli]

Yeah, I guess when you listen to music for 24 vacuum cleaners, it's difficult to make that connection with actual music.

John,

Malcolm Arnold is downstairs at reception.

He wants a word... 

[aligreto]

Piano Sonatas Nos. 16-18 Op. 31/1-3

[DavidW]

Mahler's 9th several recordings
Schubert's 2nd PT

[André]

The 6th symphony. As a symphonist, Kancheli may have only had one thing to say, but he certainly said it well.

I wouldn't put it that way, but any mark of appreciation for Kancheli's symphonies is good to hear  .

[Sergeant Rock]

John,

Malcolm Arnold is downstairs at reception.

He wants a word... 

Sarge

[Mirror Image]

John,

Malcolm Arnold is downstairs at reception.

He wants a word... 

Hah! Ah yes, the Grand Grand Overture.

[Mirror Image]

NP:

Schoenberg
The Book of the Hanging Gardens, Op. 15
Jennifer Lane, mezzo-soprano
Christopher Oldfather, piano

[Sergeant Rock]

Bax Symphony No. 6, Thomson conducting the LPO




Sarge

[Karl Henning]

Nice programme Karl!

And I ought to have noted that the Ben-Haim complies with Maiden-Listen Monday, Jeffrey!  Beautiful piece!

[Karl Henning]

NP:

Schoenberg
Kammersinfonie Nr. 1, Op. 9
20th Century Classics Ensemble
Craft



Riveting!

Sweet!

[Karl Henning]

NP:

Schoenberg
The Book of the Hanging Gardens, Op. 15
Jennifer Lane, mezzo-soprano
Christopher Oldfather, piano

Wonder if Greg still loves that 'un.

[steve ridgway]

Oddly I have just moved my first listening on to Internationale Ferienkurse Für Neue Musik 1946-1996 Vol. 4 and it has started with Arnold Schönberg - Der Tanz Um Das Goldene Kalb.

[Karl Henning]

Maiden-Listen Monday meets Myaskovsky Madness!

Again, courtesy of our Jeffrey:

Sinfonietta in a minor, Op. 68 № 2
Svetlanov & al.

[André]

Once Verdi's most popular opera, Il Trovatore has fallen victim to Toscanini's famous quip: all it takes for a successful performance is the four greatest singers in the world. 50-75 years ago you could have filled a good-sized room with singers worthy of that statement. Nowadays you would have trouble finding suitable voices for a decent production. This performance shows what a little trickery and an adventurous mind for casting could achieve. Pavarotti has a splendid Manrico in his throat but I suspect he is a bit helped by microphones. Still, such refulgent tones and perfect diction should count for something. The object of his amorous attentions is the horse-sized Joan Sutherland. She did sing Leonora on the stage but she is not a natural for the role. Hers is such a big voice that a lot of wind is required to fill its sails properly. That means slower than usual tempos for the big voice to sound fully supported, but when it does, there's no stopping her. Her account of Tacea la notte is wonderfully ardent and dreamy. She cannot fine down her tone to the diamantine, silky thread of tone required in the high reaches of D'amor sull'alli rosee but that doesn't really detract from her portrayal. Wixell and Horne bring superb verbal acuity to their respective roles. Wixell has incisive tone and great legato (per me ora fatale is wonderfully alive). Horne's gossamer trills in Stride la vampa show up her bel canto schooling to good effect. She proves herself a wonderful diseuse in her racconto, making the scene where she recalls the burning of her child a harrowing moment.

Bonynge is often thought a slightly slack and uninventive conductor but, given that having him conduct equals hearing his wife sing, and given that Sutherland's singing has always benefited from broad tempos, it helps put his conductorial choices in the right context. His account of the opera is very attentive to all the singers' needs and he leaves no orchestral detail unattended. This is not plush, but regal and powerful. Bonynge, Giulini and Karajan (Price, EMI) take the exact same time over their respective recordings (138-140 minutes) and, afaik they also are the slowest on record. That reflects the fact that their accounts are complete - no missing arias or second stanzas as is very common - but also that they allow Verdi's rythms sufficient time to generate the requisite energy.

Not the best version as its casting is rather unusual, but a wonderful  account of the work nonetheless.

[Carlo Gesualdo]

Johann Sebastian Bach, organ work volume 3 on BIS , love this label to death, the recording is top notch woaw, do anyone agree about this one?


Avatar courtesy photo of good, great Irish friend Emile!, a class-act, love that dude, he awesome, good buddy.

[ritter]

Éric Heidsieck plays Fauré's Nocturnes 1 to 8.



CD11 of the big box:

[SonicMan46]

Graupner, Christoph (1683-1760) - Music w/ Chalumeaux from the recordings below - one of my favorite Baroque composers in part because of the uniqueness of his instrument combinations - own about 20 CDs of harpsichord, chamber and orchestral works - none of his tremendous output of sacred and secular vocal compositions.  Dave

Graupner was a prolific composer. There are about 2,000 surviving works in his catalog, including 113 sinfonias, 85 ouvertures (suites), 44 concertos, 8 operas, 1,418 religious and 24 secular cantatas, 66 sonatas and 57 harpsichord partitas. Nearly all of Graupner's manuscripts are housed in the Technical University Library in Darmstadt, Germany. He wrote for exotic combinations of instruments, including the oboe d'amore, flute d'amore, and viola d'amore. Over half of his sinfonias require brass and timpani, with about 25 sinfonias requiring 3 to 4 timpani.... (Source)

   

[Symphonic Addict]

How is Plasson in the symphony ?

Coincidentally I listened to it with Monteux and the SFSO yesterday. Wonderful interpretation, but quite ancient sound. I also have excellent performances in reasonably good mono by Ormandy and Munch. I'm looking for a modern update in good sound.

It's a very convincing and vigorous performance, André, and the recording leaves nothing to be desired.

[aligreto]

Adams: China Gates [Russo/Ehnes]





I really like the musical language in this work and the interplay between the two pianos. The forward momentum of the music is relentless and I really like the way in which it drives itself forward without it being over assertive or over spirited.

[Mirror Image]

Wonder if Greg still loves that 'un.

Which Greg? Monkey Greg or Greg from Florida?

Revisiting this spectacular recording:

Strauss
Der Rosenkavalier, Op. 59
Christa Ludwig, Lucia Popp, et. al.
Wiener Philharmoniker, Chor der Wiener Staatsoper
Bernstein