What are you listening 2 now?

[André]

The 3rd timpani concerto, 'Eroica'.

To be honest I find Savall's earlier recording markedly superior to this remake. In its chosen optic it was one of the most interesting and exciting versions out there. The new recording brings nothing new and falls short in showing any advance in PI performance proficiency. The first movement is suitably irritated and curt, with good forward momentum. As the Marcia funebre unfolds, that timpanist takes over and doesn't let go until the end of the symphony. It's not just the f or ff, for even what should be discreet p taps are highlighted by the recording engineers. It really sounds like a concertante instrument, and it should definitely not.

Timings and tempi are identical to those in the older recording, which sounds better anyway.

[Karl Henning]

+1. I like the recording by the Czech PO.

Yes!

[aligreto]

Beethoven: Symphony No. 9 [Schmidt-Isserstedt]





The Beethoven symphonic presentations of Schmidt-Isserstedt are something that I have only recently discovered through our good friend Traverso [Jan]. His guidance in these works developed an appreciation in me for the expansive, yet powerfully emotionally engaging nature of these interpretations and presentations. The music making is different to, say, von Karajan [1963] and the electric Gardiner versions. The presentations by Schmidt-Isserstedt are expansive; they let the music breathe and force you to re-evaluate it. This music making is also impeccable in terms of quality and interpretation. However, it is by no means ever dull or unexciting. On the contrary, it is always very engaging; none more so than Symphony No. 9. This is glorious music making and it has become one of my favourite interpretations of this mighty work. I find that Schmidt-Isserstedt so thoroughly understands this music and the architecture of this work. The slow movement of this symphony has always been, for me, a measure of how effective any given presentation of this work is and this delivery has the requisite sensitivity, lyricism and delicacy and lightness of touch to be very successful. Do listen to it! I find it to be very mature music making. This is quite a magnificent presentation overall. This version has a wonderfully unique flavour all of its own and, although not HIP, it sounds very authentic.

[aligreto]

Hi Fergus,Bach often reused his music in other works (it was kind of durability) . In my opinion there is no essential difference  between secular  and sacred cantatas. He provided a sacred cantata with a secular text, take for example his "Trauer Musik"

Yes, Jan, I agree with you. I think that he was consistent and maintained a high level of composition irrespective of whether he was writing Liturgical or Secular music. I get the sense that maintaining this high standard of composition was very important to him. The fact that we are still revering his music after 300 years justifies his attitude and approach.
Again, yes to the "Trauer Musik" which is particularly fine music.

[kyjo]

Hugo Alfvén
Uppsala Rhapsody
Symphony no. 1
Drapa in memoriam King Oscar II
Andante religioso
Royal Stockholm Philharmonic
Neeme Järvi
(on Spotify)



Tuneful and approachable music all around; the Rhapsody and the Andante were true winners, and the symphony, while not a true masterpiece, did have some great moments. I don't think the 'Drapa' really worked for me - I guess I was expecting more of an elegy, a reflective piece, instead of a celebratory march-like affair! But I'm looking forward to listening to more of this set.

Alfvén's 1st Symphony has some interesting moments (esp. the opening cello solo), but overall it doesn't really hang together for me. His four subsequent symphonies are more convincing, especially the sunnily bucolic 3rd and the bold, dramatic, colorful 4th which are both masterpieces IMO.

[SonicMan46]

The 3rd timpani concerto, 'Eroica'.

To be honest I find Savall's earlier recording markedly superior to this remake. In its chosen optic it was one of the most interesting and exciting versions out there. The new recording brings nothing new and falls short in showing any advance in PI performance proficiency. The first movement is suitably irritated and curt, with good forward momentum. As the Marcia funebre unfolds, that timpanist takes over and doesn't let go until the end of the symphony. It's not just the f or ff, for even what should be discreet p taps are highlighted by the recording engineers. It really sounds like a concertante instrument, and it should definitely not.

Timings and tempi are identical to those in the older recording, which sounds better anyway.

Well, I listened to the rest of the Savall set and must agree that the tympani just continue to dominate 'up front' and become aurally tiring - I'm now on headphones w/ John Eliot Gardiner (from the 1990s) listening to the same works and enjoying much more - don't believe that Savall will be a purchase for me, either in Nos.1-5 nor in 6-9, although I'll certainly do a Spotify hearing when released.  Dave

[Symphonic Addict]

Alfvén's 1st Symphony has some interesting moments (esp. the opening cello solo), but overall it doesn't really hang together for me. His four subsequent symphonies are more convincing, especially the sunnily bucolic 3rd and the bold, dramatic, colorful 4th which are both masterpieces IMO.

+1

[JBS]

The 3rd timpani concerto, 'Eroica'.

To be honest I find Savall's earlier recording markedly superior to this remake. In its chosen optic it was one of the most interesting and exciting versions out there. The new recording brings nothing new and falls short in showing any advance in PI performance proficiency. The first movement is suitably irritated and curt, with good forward momentum. As the Marcia funebre unfolds, that timpanist takes over and doesn't let go until the end of the symphony. It's not just the f or ff, for even what should be discreet p taps are highlighted by the recording engineers. It really sounds like a concertante instrument, and it should definitely not.

Timings and tempi are identical to those in the older recording, which sounds better anyway.

Perhaps they can record a Nielsen cycle?

[Linz]

I am listening to this old orchestral workhorse

[aligreto]

Dvorak: Symphony No. 4 [Rowicki]





The first movement is a very expansive and lyrical presentation. There is, however, much drama and tension in this music and there are wonderful swells to the music and its delivery here. The orchestration is always very engaging. The slow movement has wonderful sonorities and textures to it and it is wonderfully effusive and atmospheric in its presentation and delivery and it is always  thoughtful, lyrical and expansive. The writing is wonderfully lyrical throughout the movement. The Scherzo is an exciting, thrilling and compelling affair with a very joyous and optimistic tone. This is an emotionally cracking delivery of this movement; it is superb music and music making. The forward momentum of the final movement is both very positive and exciting and sometimes thrilling. It appears to take on a life of its own. The brass section is very prominent in the final movement which adds to the dramatic effect. This is a particularly fine version of this work.

[Linz]

An afternoon with Sir Colin Davis

[André]

An afternoon with Sir Colin Davis

Ohhh, that's a good one. Love that disc.

[André]

Nothing revelatory in this performance, but excellent work from the soprano and tenor soloist, the chorus and the pianoforte continuo do stand out. Rilling is his usual sane, meticulous, even self. Very good sound.

[SonicMan46]

Veracini, Francesco (1690-1768) - Violin Sonatas, Op. 2 & Flute Sonatas w/ the performers on the cover art; a humorous bio summary below - now mostly known for his Op. 1 and Op. 2 violin works - reviews of Wallfisch on 3 discs in the Op. 2 sonatas; also own the Op. 1 compositions on 2 CDs and several discs of 'overtures' which are not as well received.  Dave

Veracini was famous in his day as a violinist and composer. He held a post in Dresden, where much of his surviving music was written. As a virtuoso he was widely regarded, and Tartini once locked himself away to practice after hearing him. Throughout his career, Veracini suffered a less-than-sparkling reputation due to his eccentricity — some even said he was mad, and indeed he did once leap out of a second story window in a state of dispair. That did nothing to improve his image when it became common to depict all violin virtuosos as half-mad, disheveled fiddlers who contorted themselves in bizzare ways while playing. His musical style is similar both to Vivaldi and Telemann, though his music couldn't be easily mistaken for either of theirs. (Source)

 

[Iota]

Holst: Egdon Heath

LSO, Hickox


Some of the most bewitching places are ones that don't exist ..

A lovely performance.

[Linz]

Now playing Schubert's Funeral music written for his own funeral when he was 16 according to the write up with the disc

[Linz]

Next up is Brittens Requiem with Carlo Maria Giulini

[aligreto]

Faure: [Plasson]





Les Djinns, op. 12
Berceuse, op. 16
Fantaisie, op. 111
Prélude de Pénélope


I particularly liked Les Djinns, Op. 12. It is a particularly dynamic choral work. It is all too short a work but this is a compelling presentation.

I really like the music in Fantaisie, Op. 111 and the very interesting and engaging scoring of this work. The musical language is also very exciting and engaging. There is great intensity to the music making here. Although never rushed, the music is wonderfully driven and the whole presentation creates a wonderful atmosphere of tension, drama, excitement and constant forward momentum.

The Prélude de Pénélope is a very intense and atmospheric piece of music. The orchestration is simply superb.

[aligreto]

Some of the most bewitching places are ones that don't exist ..

What an intriguing concept 

[classicalgeek]

Sweet! Yeah, just keep trying with Stenhammar's 2nd. It really is a masterpiece, IMHO. So wonderfully melodic and lyrical.

I will! I can tell there's something there. There are many pieces I didn't warm up to on first hearing, but after repeated listening, it all fell into place.

Alfvén's 1st Symphony has some interesting moments (esp. the opening cello solo), but overall it doesn't really hang together for me. His four subsequent symphonies are more convincing, especially the sunnily bucolic 3rd and the bold, dramatic, colorful 4th which are both masterpieces IMO.

+1

Perfect segue to Thread Duty!

Hugo Alfvén
Midsummer Vigil (Swedish Rhapsody no. 1)
Symphony no. 2
Royal Stockholm Philharmonic
Neeme Järvi
(on Spotify)



Of course, the Swedish Rhapsody no. 1 is Alfvén's most famous work, and Järvi and his orchestra play it very well. Such a happy-go-lucky, carefree piece. The same cannot be said of the Second Symphony - it's at times turbulent and dark, and it ends in D minor. I found it more convincing than the First (as kyjo put it, it doesn't "hang together" as well) but I think I need another listen or two before I form my opinion on it. It has some lovely spots, especially the opening. Looking forward to exploring the rest of the symphonies!