What are you listening 2 now?

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

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steve ridgway


Mirror Image

NP:

Martinů
Concerto No. 2 in D Major for 2 Violins, H. 329
Sarah & Deborah Nemtanu, violins
Orchestre Philharmonique de Marseille
Lawrence Foster



Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

TheGSMoeller


Dry Brett Kavanaugh

Quote from: VonStupp on June 14, 2021, 07:59:52 AM
Do I remember this 'Ilya Muromets' having cuts?

Yes, shorter with cuts (and fast interpretation). Good idea.  :D

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

VonStupp

Sir Arthur Sullivan
Symphony in E Major "Irish"
The Tempest
Suite
In Memoriam Overture
BBC Philharmonic
Sir Richard Hickox


Maybe not a neglected masterpiece, but a very attractive, tuneful Romantic symphony with little hint of its Irish subtitle. I have never heard Sir Charles Groves' reading on EMI coupled with Sullivan's Cello Concerto (Julian Lloyd Webber on cello), but I am curious.

"All the good music has already been written by people with wigs and stuff."

Mirror Image

NP:

Nielsen
Symphony No. 2, "The Four Temperaments", FS 29
Royal Stockholm PO
Oramo



Brian

Refresher for the violin concerto poll.



First movement of Fagerlund's violin concerto has very energetic, virtuosic roles for all the orchestral players, not just the soloist, who is often playing in tandem with only 5-6 other musicians so that the orchestral texture is very varied, but never very loud or overwhelming. Any piece that starts with a lot of loud tuba and bassoon is gonna get my interest. The solo cadenza is occupied mostly with slapstick-like sound-making, including imitations of slipping on a banana peel and laughing derisively. (Or maybe that is how I am interpreting it. ;D )

SonicMan46

Vivaldi, Antonio - Oboe Concertos w/ L'Arte dell'Arco and Pier Luigi Fabretti on a Baroque oboe copy by Pau Orriols (2008) after Thomas Stanesby Junior, c. 1720, and probably similar to the oboe shown below.  Dave :)

 

Karl Henning

Jn Corigliano
Fantasia on an Ostinato
Grimaud


And
Disc 80: Great Marches (do we need the adjective Great there?)


Sousa
Semper Fidelis
The Thunderer
Washington Post
Hands Across the Sea

[Jos. Franz] Wagner
Under the Double Eagle

Steffe
Battle Hymn of the Republic

Zimmermann non Dylan
Anchors Aweigh

Trad.
The British Grenadiers

Arne
Rule, Britannia

de Lisle
La Marseillaise

Bagley
The National Emblem

Meyerbeer
Le Prophète: Coronation March

Mendelssohn
Athalie: War March of the Priests

Verdi
Aida: Grand March

Alford
Col. Bogey

Smith
The Star-Spangled Banner
The Star-Spangled Banner (avec chœur)

NY Phil
Lenny


Great box. While I counted on getting enjoyment from it, It has exceeded good expectations. I could almost start another review of the whole box right up.


And:


Maiden-Listen Mondays:


Vasks
Distant Light, Concerto for violin and strings
Ostrobothnian Chamber Orchestra
Jn Storgårds, vn
Kangas
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Mirror Image

#42092
NP:

Vasks
Viola Concerto
Maxim Rysanov, viola/conductor
Sinfonietta Rīga



PaulR


Brian

It's all the rage on GMG, and it's music I've never heard before, so:



Man, Walton was a consistent guy. Am starting to think of him as the most consistent and distinctive stylist of the major 20th century Brits.

Mirror Image

Quote from: Brian on June 14, 2021, 12:21:52 PM
It's all the rage on GMG, and it's music I've never heard before, so:



Man, Walton was a consistent guy. Am starting to think of him as the most consistent and distinctive stylist of the major 20th century Brits.

I certainly would agree to his consistency, but Britten was just as consistent, IMHO --- even though I might personally feel to not be as attracted to one work compared to another. Vaughan Williams and Malcolm Arnold were also on par with Walton's consistency.

PaulR


Mirror Image

NP:

Shostakovich
The Bolt, Op. 27
Royal Stockholm PO
Rozhdestvensky



Brian

Quote from: Mirror Image on June 14, 2021, 12:38:35 PM
I certainly would agree to his consistency, but Britten was just as consistent, IMHO --- even though I might personally feel to not be as attracted to one work compared to another. Vaughan Williams and Malcolm Arnold were also on par with Walton's consistency.
I meant consistent to his own style/voice - Britten had a couple of different voices (the playful lyrical side and the darker side), RVW was consistently high quality but you wouldn't listen to the Fourth and Fifth symphonies and go, "wow, they sound really similar!" So that's what I meant. All Walton sounds exactly like Walton...and yet different and rewarding. Really more like mature Martinu in that sense of having a very strong personal language. And Arnold (though I do not know Arnold well).

Mirror Image

#42099
Quote from: Brian on June 14, 2021, 12:50:55 PM
I meant consistent to his own style/voice - Britten had a couple of different voices (the playful lyrical side and the darker side), RVW was consistently high quality but you wouldn't listen to the Fourth and Fifth symphonies and go, "wow, they sound really similar!" So that's what I meant. All Walton sounds exactly like Walton...and yet different and rewarding. Really more like mature Martinu in that sense of having a very strong personal language. And Arnold (though I do not know Arnold well).

Not sure I agree with your assessment. Vaughan Williams always sounded like himself no matter if it's the 6th symphony or The Lark Ascending. There's no mistaking that both works bear the composer's stamp. The same with Britten or Arnold. Also, Walton has several different voices --- listen to The Waterfall Scene from As You Like It and then listen to Façade. They couldn't be more different from each other stylistically, but yet the composer's voice remained intact. Anyway, for me, it's futile trying to pigeonhole someone of Walton's compositional prowess.