What are you listening 2 now?

[aligreto]

Couperin, F: Première Livre de Pieces de Clavecin [Rousset]





CD 1: Suites 1 & 2

Wonderful!

I came back to this for the start of CD 2 to finish off Suite No. 2 

[aligreto]

This is really great music,well played and a fine recording,it's a classic ! 

Nice!

Yes it is 

[Karl Henning]

No surprise:

Myaskovsky
String Quartet № 6 in g minor, Op. 49 (1939)
Taneyev Quartet

[Papy Oli]

Bach - Various organ works (Koopman / Novalis) - CD1
Christian Muller Organ, Waalse Kerk, Amsterdam
BWV 552, 767, 542, 659, 645, 639, 565.

I pressed replay on 659. What a gorgeous piece that is.
645 & 639 already sound familiar, weirdly (maybe from previous random streaming of other sets). Great start to that set.

[SonicMan46]

Carl Maria von Weber (1786-1826) - adding and culling to my non-clarinet works - now have a 3-disc Brilliant box of the Symphonies, Piano Concertos, and Overtures (which is in the donation bin) - concentrating on the first two areas - will need to add an 'Overtures CD', maybe - no operas, please! 

Piano Concertos - own the Hyperion disc performed on a modern piano; just acquired the Brautigam CD w/ him on a Paul McNulty reproduction (2007), after Conrad Graf, c. 1819 - so, when the era is appropriate, I like to have both a MI and a PI recording in my collection.

Symphonies - own the BIS recording w/ Kantorow as a MP3 DL, and have the Chandos disc in the mail from BRO - reviews of all recordings below attached, for those interested.  Dave

     

[Traverso]

Ravel

Tzigane

Rihm

"Gesungene Zeit"

Berg

Violin Concerto

[Mirror Image]

Ravel

Tzigane

Rihm

"Gesungene Zeit"

Berg

Violin Concerto

A great set right there. People tend to forget how incredible Mutter was in Modern repertoire. Her performance of Berg's Violinkonzert is still my reference for this work.

[Traverso]

A great set right there. People tend to forget how incredible Mutter was in Modern repertoire. Her performance of Berg's Violinkonzert is still my reference for this work.

She recorded also some  Goebaidoelina,have you heard that or have some knowledge about it.

I did put this record on just fot that reason,the whole CD is of course  wonderful.

[Mirror Image]

She recorded also some  Goebaidoelina,have you heard that or have some knowledge about it.

I've heard her Gubaidulina, but I'm not impressed with this composer's music.

[Traverso]

I've heard her Gubaidulina, but I'm not impressed with this composer's music.

Too bad.......

[Mirror Image]

Too bad.......

Gubaidulina is one of those strange cases where I felt the music was nothing more than a bunch of empty gestures all wrapped up in some pseudo-spirituality or whatever the critics told me I should be hearing. Schnittke, on the other hand, is one of the only late Soviet period composers that has truly impressed me.

[VonStupp]

César Franck
Symphony in d minor

Gabriel Fauré
Ballade for piano and orch., op. 19

Ernest Chausson
Poème for violin and orch., op. 25

Maurice Ravel
Tzigane for violin and orch.

Robert Casadesus & Zino Francescatti
NYPO - Leonard Bernstein (rec. 1959-1964)

Bernstein's way with Franck's Symphony is much more indulgent than Monteux, and not to the better for me. The concertante works are good though, particularly with Casadesus and Francescatti on board.

We do get a Royal Edition watercolour, however...

I would say if you are unfamiliar with Franck, his Symphony in d minor is a must-hear.

That said, my listening for this morning:

César Franck
Symphony in d minor

Igor Stravinsky
Pétrouchka

Chicago & Boston SO - Pierre Monteux

[Traverso]

Gubaidulina is one of those strange cases where I felt the music was nothing more than a bunch of empty gestures all wrapped up in some pseudo-spirituality or whatever the critics told me I should be hearing. Schnittke, on the other hand, is one of the only late Soviet period composers that has truly impressed me.

Maybe interesting: 

Ambiguous

Sofia Gubaidulina's sonic spectrum is idiosyncratic, capricious and averse to convention in every conceivable way. We are in a terrifying underworld with its dark subterranean passages, flashing nocturnal animals, dim stalactite caves and distorted mountain massifs. But we are also in serenity, with low tremoli rippling along, the soft tapestry of rustling melodies and harmonies in their sometimes gloomy, sometimes contemplative layers. Actually - just like in Lisztz 'Via Crucis' - we are everywhere and nowhere, there is no home base. There is no tradition to which we can cling, there is only sound, carved from granite or as finely meshed as lace. Beauty out of chaos, ugliness out of chaos, countless ambiguities and metamorphoses, nothing is certain. As if by touch, a space fills with sound that painfully slowly reveals the contours of the present mixed with the past from the battle with the intervals.

Purity

'Jetzt immer Schnee' had its Dutch premiere in 1994, by the Schönberg Ensemble and the Nederlands Kamerkoor conducted by Reinbert de Leeuw (the same ensemble later also recorded it on CD). For Gubaidulina, Aigi's poetry is 'a world of whiteness and purity' and therefore an important musical benchmark for her. 'Snow', 'snow', in a metaphorical sense: a kind of divine untouchedness as an ideal representation, a longing reflected in poetry for light, for purity and thus for snow as its representation. Several 'stations' are passed through before the latter reveals itself in the voice of that single reciter: 'And we lived and listened: how would purity be expressed in a single word? It shines continuously. Purity World'. There is an air of inviolability and eternity about this great work, the mysticism of which is as essential a component as that in 'Via Crucis'. Less boned perhaps than in Liszt's opus, its elaboration is no less fragmentary, there are the dynamically variegated whispers and there is the almost angelic halo that envelops some passages. The color white culminates in an instrumental and vocal play of colors that once again gains in significance due to the spatial arrangement of the choir members (left, right and behind the audience), in addition to the instruments used, including extensive percussion (including a penetrating 'timpani duet'). , bass clarinet, contrabassoon, trumpet, trombones and strings (Marijke van Kooten's serene violin solo left no one untouched).

[Mirror Image]

Maybe interesting: 

Ambiguous

Sofia Gubaidulina's sonic spectrum is idiosyncratic, capricious and averse to convention in every conceivable way. We are in a terrifying underworld with its dark subterranean passages, flashing nocturnal animals, dim stalactite caves and distorted mountain massifs. But we are also in serenity, with low tremoli rippling along, the soft tapestry of rustling melodies and harmonies in their sometimes gloomy, sometimes contemplative layers. Actually - just like in Lisztz 'Via Crucis' - we are everywhere and nowhere, there is no home base. There is no tradition to which we can cling, there is only sound, carved from granite or as finely meshed as lace. Beauty out of chaos, ugliness out of chaos, countless ambiguities and metamorphoses, nothing is certain. As if by touch, a space fills with sound that painfully slowly reveals the contours of the present mixed with the past from the battle with the intervals.

Purity

'Jetzt immer Schnee' had its Dutch premiere in 1994, by the Schönberg Ensemble and the Nederlands Kamerkoor conducted by Reinbert de Leeuw (the same ensemble later also recorded it on CD). For Gubaidulina, Aigi's poetry is 'a world of whiteness and purity' and therefore an important musical benchmark for her. 'Snow', 'snow', in a metaphorical sense: a kind of divine untouchedness as an ideal representation, a longing reflected in poetry for light, for purity and thus for snow as its representation. Several 'stations' are passed through before the latter reveals itself in the voice of that single reciter: 'And we lived and listened: how would purity be expressed in a single word? It shines continuously. Purity World'. There is an air of inviolability and eternity about this great work, the mysticism of which is as essential a component as that in 'Via Crucis'. Less boned perhaps than in Liszt's opus, its elaboration is no less fragmentary, there are the dynamically variegated whispers and there is the almost angelic halo that envelops some passages. The color white culminates in an instrumental and vocal play of colors that once again gains in significance due to the spatial arrangement of the choir members (left, right and behind the audience), in addition to the instruments used, including extensive percussion (including a penetrating 'timpani duet'). , bass clarinet, contrabassoon, trumpet, trombones and strings (Marijke van Kooten's serene violin solo left no one untouched).

Listen for yourself, Jan. I gave you my verdict.

[Papy Oli]

Bach - Concertos After Vivaldi BWV 976 & 978 (Baumont)

[Traverso]

Offenbach

Le Papillon

[prémont]

Bach - Various organ works (Koopman / Novalis) - CD1
Christian Muller Organ, Waalse Kerk, Amsterdam
BWV 552, 767, 542, 659, 645, 639, 565.

I pressed replay on 659. What a gorgeous piece that is.

Certainly. My first encounter with this piece, when I was a child, was Lipatti's recording of Busoni's arrangement for piano. Usually I am not into piano versions of organ music, but this is impressive:

https://www.youtube.com/watch?v=MC3Upv8DuRQ

[Mandryka]

Bach - Various organ works (Koopman / Novalis) - CD1
Christian Muller Organ, Waalse Kerk, Amsterdam
BWV 552, 767, 542, 659, 645, 639, 565.

I pressed replay on 659. What a gorgeous piece that is.
645 & 639 already sound familiar, weirdly (maybe from previous random streaming of other sets). Great start to that set.

That 659 comes from a set of chorales which I've heard people say is the summit of Bach's organ music - the Leipzig Chorales. Koopman has an affinity for them I think.

[SonicMan46]

Fitzwilliam Virginal Book, V. 5 w/ Pieter-Jan Belder on three replica harpsichords - missed V. 4 but have the earlier 3 2-disc sets; others have been released including a box of the entire 15-CD project; not sure that I want to make the investment now owning 8 of the discs already, plus another 2-disc set w/ Martin Souter (last pic below), likely repeating much of what I own of Belder.  Dave

     

[kyjo]

Yes, you should!

Both symphonies are splendid, expertly written, so I love them. The piano trios are good, but I have to say I prefer the string quartets to them, above all the 1st one. That's something else. The 2nd SQ is also fantastic, if a bit more restrained.

Re: Andreae

I listened to the 1st SQ last night, and I definitely concur with your enthusiasm! Your description of it as a "meaty" work certainly is accurate - it's full of substance and variety. I was particularly struck by the brilliant, folksy scherzo and the poignant slow movement. Throughout the work, there's a contrast between tuneful diatonic themes and a dark, rigorous chromaticism that I found really compelling. I could've done without the "Regerian" fugal episode in the finale, but that's a minor quibble. I'll be listening to the 2nd SQ soon. I'm endlessly thankful to Guild for resurrecting Andreae's marvelous music - and in great performances too!