What are you listening 2 now?

[Traverso]

Brahms & Mozart

[Mirror Image]

There is a rumor that he didn't like all the symphonies and therefore not recorded them.

That would certainly make sense. Kind of like Bernstein and Nielsen's 1st and 6th symphonies --- just to throw another random example out there.

[Mirror Image]

NP:

Mahler
Symphony No. 4 in G
Irmgard Seefried, soprano
New York PO
Solti

From this set -

[André]

A Bruckner evening with friends.





1878 and 1888 versions





The Sado 4th is played with an excellent 'second tier' orchestra who clearly has Bruckner's idiom in their blood. Perfect balances with strong string and brass that blend instead of attempting to dominate proceedings. Pacing is natural, i.e. making room for full expression in the slower episodes, where strings sing and winds comment. Allowing due time for those pastoral episodes to unfold naturally is crucial in this symphony. Sado ends with a militant, bold view of the finale, with assertive brass and timpani. This is an excellent 4th, superbly recorded (live) in the fabled acoustics of the Vienna Musikverein. Warmly recommended.

Jakob Hrusa and the Bamberger Symphoniker have lent their considerable talents to an enterprising musicological journey into the 4th symphony's tortuous genesis. There are basically 2 versions (1874 and 1878-80), plus a variant of the latter (1888) and a bevy of variants, sections of the 2nd, 3rd and 4th movements mostly, but also a full-blown alternate finale. All of these options have been thoroughly researched and documented by Bruckner scholar Benjamin Korstvedt. The set comprises 4 discs, one each for performances of the 1874, 1878-80 and 1888 versions, and one for all the variants (snippets of 1-2 minutes) plus the alternate Finale nicknamed Volkfest (popular fête).

Here too the orchestra dwells on a strong brucknerian tradition honed under the conductorships of Jochum, Keilberth and others. Its playing style is more blended, with forward, luminous winds, richly singing strings and burnished, sonorous but unassertive brass. Performances of all three versions are on the moderate side, allowing the many gesangsperioden full exposure. The first movement may be open to criticism at first as one may feel the playing to be more laid back than bold and brassy as is often the case. What is revealed is how much wind details emerge and how important their cumulative impact on the sound picture alters the conventional view of this movement as a confident, driving, brass-heavy piece. Think of early/mid period Dvorak to get an idea of the soundworld created here, one that harks back to the 1870s instead of the 1890s, to rustic austrian countryside, but also to the organ registrations that are never far in the background in Bruckner's music. The slow movement in the 1878 and 1888 performances are absolutely mesmerizing, by far the most beautiful and mysterious I've heard in many a moon. The revelation though comes in the finales, where Hrusa adopts measured but sharply accented rythms that impart a mysterious, menacing atmosphere. Patient pacing in building the long crescendos pays rich dividends in making climaxes sound organic instead of abruptly pasted on. The coda is splendid, with its insistent Celibidachean accentuation of the march rythms in the violins. A crowning achievement for an unusual view of this familiar work.

The 6th from Poschner on Capriccio disappoints. There is an attempt to paste baroquisms on Bruckner's music that is both ill-advised and unsatisfying. Strings play with a good weigth of tone but very little vibrato. Individual notes are generously peppered with hairpin crescendos throughout, with last notes elongated to make for a more 'meaningful' phrasing. It does have a kind of novelty effect at first but it quickly grows tiresome and emerges as musical tics applied without discernment. The finale sounds more herky-jerky than usual. It is propulsive and powerful, but is prone to sound impulsive and disorganized. It's in the nature of this movement, but a strong guiding thread seems to be missing.

Finally, Ozawa's First in the BP compendium with various conductors. Ozawa has the measure of the score but here what's missing is simply a sense of the concert hall. The sound is forward but disembodied, with no sense of the work being played in a physical space. It sounds very 'digital', making a connection with the playing hard to establish. There's no denying that conductor and orchestra give their all, especially in splendid accounts of the last 2 movements. In the end the two-dimensional soundstage makes this merely good instead of outstanding.

As a footnote, I will mention that I've listened to 2 YT videos from the Hurwitzer, who kills the Hrusa/Korstvedt enterprise and raves orgasmically over Poschner's 6th. My conclusion is that he has utterly failed to understand the sound world and phrasing of the former, and fallen prey to the cheap tricks of the latter. Either way his judgment is wildly off.

[Mirror Image]

A Bruckner evening with friends.





1878 and 1888 versions





The Sado 4th is played with an excellent 'second tier' orchestra who clearly has Bruckner's idiom in their blood. Perfect balances with strong string and brass that blend instead of attempting to dominate proceedings. Pacing is natural, i.e. making room for full expression in the slower episodes, where strings sing and winds comment. Allowing due time for those pastoral episodes to unfold naturally is crucial in this symphony. Sado ends with a militant, bold view of the finale, with assertive brass and timpani. This is an excellent 4th, superbly recorded (live) in the fabled acoustics of the Vienna Musikverein. Warmly recommended.

Jakob Hrusa and the Bamberger Symphoniker have lent their considerable talents to an enterprising musicological journey into the 4th symphony's tortuous genesis. There are basically 2 versions (1874 and 1878-80), plus a variant of the latter (1888) and a bevy of variants, sections of the 2nd, 3rd and 4th movements mostly, but also a full-blown alternate finale. All of these options have been thoroughly researched and documented by Bruckner scholar Benjamin Korstvedt. The set comprises 4 discs, one each for performances of the 1874, 1878-80 and 1888 versions, and one for all the variants (snippets of 1-2 minutes) plus the alternate Finale nicknamed Volkfest (popular fête).

Here too the orchestra dwells on a strong brucknerian tradition honed under the conductorships of Jochum, Keilberth and others. Its playing style is more blended, with forward, luminous winds, richly singing strings and burnished, sonorous but unassertive brass. Performances of all three versions are on the moderate side, allowing the many gesangsperioden full exposure. The first movement may be open to criticism at first as one may feel the playing to be more laid back than bold and brassy as is often the case. What is revealed is how much wind details emerge and how important their cumulative impact on the sound picture alters the conventional view of this movement as a confident, driving, brass-heavy piece. Think of early/mid period Dvorak to get an idea of the soundworld created here, one that harks back to the 1870s instead of the 1890s, to rustic austrian countryside, but also to the organ registrations that are never far in the background in Bruckner's music. The slow movement in the 1878 and 1888 performances are absolutely mesmerizing, by far the most beautiful and mysterious I've heard in many a moon. The revelation though comes in the finales, where Hrusa adopts measured but sharply accented rythms that impart a mysterious, menacing atmosphere. Patient pacing in building the long crescendos pays rich dividends in making climaxes sound organic instead of abruptly pasted on. The coda is splendid, with its insistent Celibidachean accentuation of the march rythms in the violins. A crowning achievement for an unusual view of this familiar work.

The 6th from Poschner on Capriccio disappoints. There is an attempt to paste baroquisms on Bruckner's music that is both ill-advised and unsatisfying. Strings play with a good weigth of tone but very little vibrato. Individual notes are generously peppered with hairpin crescendos throughout, with last notes elongated to make for a more 'meaningful' phrasing. It does have a kind of novelty effect at first but it quickly grows tiresome and emerges as musical tics applied without discernment. The finale sounds more herky-jerky than usual. It is propulsive and powerful, but is prone to sound impulsive and disorganized. It's in the nature of this movement, but a strong guiding thread seems to be missing.

Finally, Ozawa's First in the BP compendium with various conductors. Ozawa has the measure of the score but here what's missing is simply a sense of the concert hall. The sound is forward but disembodied, with no sense of the work being played in a physical space. It sounds very 'digital', making a connection with the playing hard to establish. There's no denying that conductor and orchestra give their all, especially in splendid accounts of the last 2 movements. In the end the two-dimensional soundstage makes this merely good instead of outstanding.

As a footnote, I will mention that I've listened to 2 YT videos from the Hurwitzer, who kills the Hrusa/Korstvedt enterprise and raves orgasmically over Poschner's 6th. My conclusion is that he has utterly failed to understand the sound world and phrasing of the former, and fallen prey to the cheap tricks of the latter. Either way his judgment is wildly off.

Of these you listened to, I'm most interested in the Hrůša. He's an excellent conductor and I've thoroughly enjoyed his Brahms, Dvořák, Smetana and Martinů recordings. I'll definitely be acquiring that recording of the various iterations of Bruckner's 4th.

[Papy Oli]

Shostakovich - Symphony No.6 (Barshai)
Shostakovich - From the Jewish Folk Poetry, op.79 (Haitink)

[Mirror Image]

I had to turn off Solti's recording of Mahler's 4th with the New York Philharmonic because of sonic limitations (it sounded like it was recorded in a bathroom).

Now playing this stupendous recording:



One of the best M6s I've heard. Thunderous, emotionally-driven performance.

[Pohjolas Daughter]

I had to turn off Solti's recording of Mahler's 4th with the New York Philharmonic because of sonic limitations (it sounded like it was recorded in a bathroom).

Now playing this stupendous recording:



One of the best M6s I've heard. Thunderous, emotionally-driven performance.

But isn't that were the best singing is done?

Shostakovich's Concerto for Piano and String Orchestra, op. 35 with Argerich.  Well, despite it being in Ms. Argerich's most capable hands, on first listen anyway, not particularly keen on it to be truthful.     On DG with Jörg Faerber and the Württembergisches Kammerorchester Heilbronn.

PD

[Mirror Image]

But isn't that were the best singing is done?

[Karl Henning]

But isn't that were the best singing is done?
PD

(* chortle *)

[Mirror Image]

Shostakovich's Concerto for Piano and String Orchestra, op. 35 with Argerich.  Well, despite it being in Ms. Argerich's most capable hands, on first listen anyway, not particularly keen on it to be truthful.     On DG with Jörg Faerber and the Württembergisches Kammerorchester Heilbronn.

PD

I think it's a fab work, PD. Oh well, your loss.

P.S. You left trumpet off in the title of the work: it's Concerto for Piano, Trumpet and Strings, Op. 35.

[Pohjolas Daughter]

I think it's a fab work, PD. Oh well, your loss.

P.S. You left trumpet off in the title of the work: it's Concerto for Piano, Trumpet and Strings, Op. 35.

That was how it was listed on the back of the booklet.   

PD

[Mirror Image]

That was how it was listed on the back of the booklet.   

PD

Then per usual DG got it wrong. I love the label, but they're not absent from typographical errors.

[Karl Henning]

That was how it was listed on the back of the booklet.   

PD

It's not all beer and skittles, being a trumpeter!

[Pohjolas Daughter]

Then per usual DG got it wrong. I love the label, but they're not absent from typographical errors.

...and the world will still go on turning. 

TD

Rhapsody No. 1 for Violin and Orchestra (SZ 87, 1928) with André Gertler, Ferencsik and the Brno Phil. Orch. [rec. 1962] on Supraphon from this lovely set:



Went down much better for me. 

PD

[SonicMan46]

Bach, JC (1735-1782) - Opera Overtures w/ Anthony Halstead and the Hanover Band. The so-called 'London Bach', arguably the most famous 18th century Bach at the height of his popularity in London w/ the 8 y/o Mozart on his lap in 1764 - but dying in poverty at the age of 46 years (see quote below); probably the most versatile of the Bach family looking at his prolific list of compositions HERE - I own the larger CPO boxes (all w/ Halstead) of his KB Concertos, Symphonies, & Symphonies Concertantes; this 'opera' set is just 3 discs nicely packaged in a double jewel box w/ 3 original booklets; reviews attached for those interested.  Dave

By the late 1770s, both his popularity and finances were in decline. When Bach' died on New Year's Day 1782, he had become so indebted (in part due to his steward embezzling his money), that Queen Charlotte stepped in to cover the expenses of the estate and provided a life pension for Bach's widow. He was buried in the graveyard of St. Pancras Old Church, London. (Source)

   

[Traverso]

Elgar

Time for Elgar

Minuet (From "Brummel"
Dream Children, Two Pieces For Small Orchestra, Op. 43
Salut D'Amour, Op. 12

The Royal Philharmonic Orchestra
Lawrance Collingwood

   
Minuet, Op. 21
May Song
Rosemary ("That's For Remembrance")
Romance, For Bassoon And Orchestra, Op. 62
Bassoon – Michael Chapman (4)
Sevillana, Op. 7
Sérénade Lyrique
Three Characteristic Pieces, Op. 10
Carissima
Mina

The Northern Sinfonia Orchestra
Sir Neville Marriner

[listener]

BUSONI: Sonata for Violin & Piano no.2 in e op. 36a     Violin Concerto  op. 35a
Joseph Szigeti, violin     Mieczyslaw Horszowski, piano
The Little Orchestra Society     Thomas Scherman, cond.
RESPIGHI: Ancient Airs and Dances, Suite no.3    C.P.E. BACH: Concerto in d for flute & String Orch.
GRANDJANY: Aria in Classic Style for Harp and String Orch.,
FARKAS: Aria e Rondo all'ungarese for 2 violins and string orch.,; Partita all'ungaresca
Louis Spohr Sinfonietta   Lore Schrettner, cond.

[Pohjolas Daughter]

Schubert Four Impromptus, D899 with the wonderful pianist Radu Lupu.  Ah, serenity! 



PD

[classicalgeek]

Glad to read, classical geek! By knowing your tastes, I was suspecting you were going to enjoy it very much.

You were right! It "checked all the boxes" for me, so to speak, and I'm a sucker for dazzling orchestration, which Bergakungen has plenty of!

That recording is a great favourite of mine. Just as good is Svetlanov's version of the second symphony on the same label.

It's really a terrific disc. I'll see if I can find Svetlanov's Alfvén 2 - I recently heard the work for the first time in ages, and while I greatly enjoyed it in general, I'm still warming up to it.