What are you listening 2 now?

[aligreto]

So I have had a listen!
As Traverso says, "...The tempos chosen are lower than is usual in our modern times....so what?"
I did think it half a beat slower than expected, but the symphony above is well rounded, consistent, everything is in it's place, no fancy stuff, and more solid than whizz bang 'modern times' interpretations.  It definitely has powerful undertones, never overstated, but mighty in delivery.  Thanks aligreto, it was worth the journey!   

I am very pleased that you also found it to be engaging.

[aligreto]

Great stuff!

Verily!

[Traverso]

Rameau

[André]

[VonStupp]

Felix Mendelssohn
String Symphony 7 in d minor

Gewandhaus - Kurt Masur

I wonder how much time passed between String Symphony #6 and #7, because the latter shows a bigger leap in ability than the previous six combined.

The 2nd movement of #7, which begins with solo strings, leads into the entire string orchestra gorgeously; I could listen to it endlessly. The 3rd movement has a solidly swinging dance tune, even if the trio is a little clunky. The opening movement still holds onto those Baroque motor rhythms, but with some differing string textures, yet the finale barters between Baroque counterpoint and a more forward-looking, Classical-Era balanced tunefulness.

These are warm, full string performances that lean to my preferences, but I could understand a want for a HIP presentation.

[classicalgeek]

Koechlin

La Course de Printemps

Ooh, you have the complete Holliger series (and I think there's some Koechlin piano and chamber works in there.) Unfortunately I think it's hard to find now...

[vers la flamme]

Veni, Creator Spiritus
mentes tuorum visita.

I needed that today.

Now for a bit of the birthday boy:



Dmitri Shostakovich: Piano Quintet in G minor, op.57. Constantine Orbelian, Moscow String Quartet

First listen to this recording; it sounds great.

[Karl Henning]

CD: 34

"Wolferl"

A disc of trifles, but most of them written from the age of 23 through to his final year, and so (on balace) worthwhile trifles, anyway.

[VonStupp]

Felix Mendelssohn
String Symphony 8 in D Major (version for strings only)
String Symphony 8 in D Major (version with winds)

Gewandhaus - Kurt Masur

Two elements of particular interest here for me:

The 2nd movement of the strings-only version is written for 3-part divisi violas and bass only. It is really an effective use of mood making as it is also in a minor key, but the low tessitura instrumentation makes for an interesting listen. Mendelssohn's melodic ability in this particular case is also quite enchanting. The massive, drawn-out setting of counterpoint in the finale shows Mendelssohn really coming into his own, and it is quite the monument to end this symphony on.

The version of SS #8 with winds shows a young Mendelssohn as an arranger of his own music, and I like seeing how he divvy's up the four-part strings amongst the winds. Some of it is doubling, but there are plenty of stand alone wind parts that make the work sound different. Mendelssohn writes a completely different 3rd movement trio as well, but its this movement where the winds add the most character to the music.

Odd that String Symphony 8 was a separate release on its own; I'm not sure how much interest there is in this particular SS outside of a complete set. That said, I don't know how may sets include the wind version either.

[Karl Henning]

Felix Mendelssohn
String Symphony 8 in D major (version for strings only)
String Symphony 8 in D Major (version with winds)

Gewandhaus - Kurt Masur

Two elements of particular interest here for me:

The 2nd movement of the strings-only version is written for 3-part divisi violas and bass only. It is really an effective use of mood making as it is also in a minor key, but the low tessitura instrumentation makes for an interesting listen. Mendelssohn's melodic ability in this particular case is also quite enchanting.

The version of SS #8 with winds shows a young Mendelssohn as an arranger of his own music, and I like seeing how he divvy's up the four-part strings amongst the winds. Some of it is doubling, but there are plenty of stand alone wind parts that make the work sound different. Mendelssohn writes a completely different 3rd movement trio as well.

Odd that String Symphony 8 was a separate release on its own; I'm not sure how much interest there is in this particular SS outside of a complete set. That said, I don't know how may sets include the wind version either.

I'm enjoying your reports of your traversal of these works.

[vers la flamme]

I re-read Solti's memoir a few weeks ago. He talks about various recording sessions for Decca. It was a nice read.

Would love to read that sometime. I admire Solti, though I understand he seems to have been somewhat of an abrasive person.

[Karl Henning]

"Wolferl"

Symphony № 39 in E^b K. 543
Mozart Akademie Amsterdam
Jaap ter Linden

[VonStupp]

I'm enjoying your reports of your traversal of these works.

I am glad to hear that, Karl. I spent last weekend listening to his main mature symphonies so I would have context for this set, and it has been enjoyable to spend time with this music today.

It turns out, these stand on their own pretty well so far. I doubt any composer would want to be known for their teenaged scribblings, but Mendelssohn's propulsion towards orchestral maturity is startling in these string symphonies.

VS

[Roasted Swan]

One of Jeffrey's favourites I know!



I've been looking for a reasonably priced copy of this original Collins release for ages and one recently popped up (the original has the Holst Perfect Fool and the Alto re-release has other RVW).  A good Job - perhaps not as stunning as I'd hoped.  The Dance and Vision of Satan not as apocalyptic as I'd like BUT the "Elihu's Dance of Youth" an absolutely GORGEOUS violin solo by James Clark.  What a great piece it is - the very essence of RVW - pastoral/ecstatic.  Fine rich recording by the ever excellent Trygg Tryggvason.  Such a shame Collins was so short lived as a label - they produced many excellent discs but perhaps lacking a particular identity as far as repertoire or artists was concerned? Well worth my 99p!

[Traverso]

Ooh, you have the complete Holliger series (and I think there's some Koechlin piano and chamber works in there.) Unfortunately I think it's hard to find now...

This is the other one,I did purchase them just in time.

[Traverso]

Adieu Madame

CD 2

[JBS]

Today's listening so far



And the first CD of this [Symphony 2, VC 1, Symphonic Variations]

[Karl Henning]

Today's listening so far



And the first CD of this [Symphony 2, VC 1, Symphonic Variations]

Love that Weinberg disc!

[VonStupp]

Felix Mendelssohn
String Symphony 9 in C Major
String Symphony 10 in b minor

Gewandhaus - Kurt Masur

String Symphonies #9 and #10 (only one movement) appear to take more from Classical Era traditions than Baroque. The outer movements are more epically proportioned, and Mendelssohn is now not afraid to take a moment of repose, instead of using the driving Baroque rhythms to propel his music forward.

He also seems to experiment by bringing in new material that stops or changes the action before the end/codas. He also appears more willing to let himself go further afield from the home key, so his symphonic structure is much more satisfying. Mendelssohn eschews separate cellos in large swaths in #9 (I believe), but instead divides the violins, violas, and basses, another experimental touch in his sound world.

The 2nd movement of #9 has a section devoted to violins alone, divided into four parts, and another section for divided violas and bass alone. The violin section is lovely, but Mendelssohn doesn't strike lightning twice with the odd tessitura of violas and bass from #8; this time it sounds ugly to me, and its contrapuntal nature doesn't help its low sonoroites.

But the tunefulness is a definite plus in these later string symphonies. The one movement SS #10 has a nice Classical Era melodic and harmonic balance, and Mendelssohn seems to do well developing minor keys.

[André]

Some seriously beautiful music here: Webern's quartet from 1905, Schoenberg's 2nd quartet (with soprano) and Berg's op 3.

The cover art is said to have been the inspiration for Webern's work. It's a painting by one Giovanni Segantini titled « Becoming, Being, Passing ». I find it ugly. Webern's music though is bewitching. It starts with a quote from Beethoven's op 135 quartet's finale, the so-called 'Muss es sein?' motif. It also happens to be quite similar to an important theme in Wagner's Walküre, specifically Brünnhilde's Announcement of Death. It makes for interesting references. The '1905' quartet is from Webern's post-romantic period.

Schoenberg's 2nd quartet is thought to be the pivot that introduces his 'mature' period. It's a very serious piece, and demands the listener's undivided attention. Soprano Marieke Koster conquers the difficult soprano part with ease and assurance. Berg's op 3 is also an early work, speaking in post-romantic, expressionist language. Not as brilliantly chiseled as his Suite lyrique, with sometimes thick textures, but still an important work. This is an immensely rewarding disc.