What are you listening 2 now?

[Madiel]

Holmboe, Liber Canticorum.

First listen in quite a while. Books I and II are on the first CD if I go through all of it.

[Harry]

Claudio Monteverdi.

Lagrime d'amante.
Madrigals of Love and Grief.

From Book 1,2,3,4,5,6.

La Compagnia del Madrigale.

Anyone bought this issue too, or am I the lonely knight, who thought this release important. Many have recordings with the Bass Daniele Carnovich, in divers ensembles. Well he died in 2020 at the age of 64, and that why I bought this, his last recordings.
Dedichiamo questa registrazione al nostro caro amico e collega Daniele Carnovich

[Biffo]

Beethoven: Piano Concerto No 5 in E-flat major, Op 73, Emperor - Mindru Katz piano with the Halle Orchestra conducted by Sir John Barbirolli

[Karl Henning]

I tend not to venture before the Paris symphonies ... [snip]
/quote]

I cannot think why not.

[vers la flamme]

Alfred Schnittke: Agony Suite. Frank Strobel, Rundfunk-Sinfonieorchester Berlin

The Tango third movement is amazing.

[Que]

[vers la flamme]

Elliott Carter: Cello Concerto. Alisa Weilerstein, Daniel Barenboim, Staatskapelle Berlin

Amazing performance from all involved. Excellent sound. I listen to the Carter a lot more than the Elgar, but I recall that also being a good performance. I would definitely recommend this disc to anyone interested.

[vers la flamme]

To keep the American string concertos theme going for a bit...



Samuel Barber: Violin Concerto, op.14. Robert McDuffie, Yoel Levi, Atlanta Symphony Orchestra

Maybe it's hometown bias, but this seems to blow the only other recording of this work I have (Stern/Bernstein/NY) out of the water. In any case, it's a beautiful work.

[Mirror Image]

Great music, but if I remember correctly this recording sounded like it was taken in an empty swimming pool.

It sounded fine to me.

[Mirror Image]

NP:

Sibelius
Violin Concerto in D minor, Op. 47
Batiashvili
Staatskapelle Dresden
Bareboim

[Harry]

Franz Lachner.

Symphony No. 6 opus 56 in D major.
Concertino for Bassoon & Orchestra in E flat major.

Chia-Hua-Hsu, Bassoon.
Evergreen SO, Gernot Schmalfuss.

I could not be more please with this disc as I do. Splendid production. Hsu is a formidable Bassoon player. And Franz Lachner was very adept in writing beautiful melodies. The Symphony in D major shows his skills in orchestrated 44 minutes with never a boring moment.

[vers la flamme]

Arvo Pärt: Symphony No.3. Neeme Järvi, Bamberg Symphony

This disc is phenomenal! I'm glad I decided to pick it up. These works—none of which belong to Pärt's "mature" style, which is characterized by what he has called "tintinabulation"—are all completely unique, with this one seeming to foreshadow his later development slightly more than the rest. Amazing performance from the Bambergers.

[Dry Brett Kavanaugh]

Marcel Poot, SY1.

[Mirror Image]

Arvo Pärt: Symphony No.3. Neeme Järvi, Bamberg Symphony

This disc is phenomenal! I'm glad I decided to pick it up. These works—none of which belong to Pärt's "mature" style, which is characterized by what he has called "tintinabulation"—are all completely unique, with this one seeming to foreshadow his later development slightly more than the rest. Amazing performance from the Bambergers.

I don't care for the first two symphonies --- I never thought of Pärt as a good avant-garde composer, but that 3rd symphony is pure magic. It was written in a period of limbo for him as he didn't quite know where to go stylistically, but it sounds as confident any of his mature works. Of course, not too much longer after he composed the 3rd symphony, he went into musical hibernation only to re-emerge with his fully-formed tintinnabuli style.

[vers la flamme]

I don't care for the first two symphonies --- I never thought of Pärt as a good avant-garde composer, but that 3rd symphony is pure magic. It was written in a period of limbo for him as he didn't quite know where to go stylistically, but it sounds as confident any of his mature works. Of course, not too much longer after he composed the 3rd symphony, he went into musical hibernation only to re-emerge with his fully-formed tintinnabuli style.

Funny, I prefer the first two to the third—I would have loved to see Pärt develop his early style further, but of course I would say things worked out for the best with regard to his musical development. All three are enjoyable in their own ways though.

[ritter]

First listen to the music of Jean Huré:


Given my unwavering interest in exploring 20th century French music, I had been thinking of buying this CD for a while, and kijo's recent enthusiasm for the Piano Quintet helped me decide. Fortunately, there was a copy at a B&M store here in Madrid.

Although, as I've often mentioned here on GMG, I have no love for the violin and piano sonata genre, I dutifully sat through Huré's work from (from 1900-01). A bit of a torture, I must admit. The work seemed rather run-of-the-mill to me, with no particularly distinguishing features. Not bad if you like that sort of thing, I suppose, but not memorable either.

The Quintet for piano and strings, from some years later, is much, much more interesting. Kyle described it quite accurately in his post of some days ago. The piece has a nice ebbs and flows between the "pastoral-idyllic" (the opening is, indeed, really beautiful) and the "dramatic" (even if for me the latter are a bit too vehement at times, and seem to hark back to earlier —pre-Fauréan?— modes of expression). Still, the sounds the composer gets from the ensemble are seductive and, on occasions, surprising and highly original. All in all, a splendid achievement!

[Mirror Image]

Funny, I prefer the first two to the third—I would have loved to see Pärt develop his early style further, but of course I would say things worked out for the best with regard to his musical development. All three are enjoyable in their own ways though.

I just don't find those first two symphonies sincere or genuine in any way. It sounds to me to like in his years he he was confused and he only composed in this manner because it was what every other composer was doing at the time. If I want to listen to avant-garde music, I'll listen to Ligeti, Boulez, Scelsi, early Penderecki, etc., because I feel these composers bring something of their own to musical table and it doesn't sound forced --- if this makes any sense at all.

[ritter]

And now, first listen to another CD purchased yesterday at La Quinta de Mahler here in Madrid. Late chamber and ensemble pieces by Roberto Gerhard:

[vers la flamme]

I just don't find those first two symphonies sincere or genuine in any way. It sounds to me to like in his years he he was confused and he only composed in this manner because it was what every other composer was doing at the time. If I want to listen to avant-garde music, I'll listen to Ligeti, Boulez, Scelsi, early Penderecki, etc., because I feel these composers bring something of their own to musical table and it doesn't sound forced --- if this makes any sense at all.

I couldn't disagree more! I love those works (and the Cello Concerto) and find them both to be "sincere", and very much the real deal. But that's okay, no one said you have to like them.

[Mirror Image]

I couldn't disagree more! I love those works (and the Cello Concerto) and find them both to be "sincere", and very much the real deal. But that's okay, no one said you have to like them.

Indeed not. We both hear different things --- the way it should be.