What are you listening 2 now?

[Biffo]

Johannes Brahms: Symphony No. 3 in F major, op. 90 - Berlin Philharmonic conducted by Herbert von Karajan - live concert from January 1974 - streamed from the Berlin Philharmonic Digital Concert Hall

[Madiel]

But Haydn's quartets are not an even body of work - the early Ops are really only of historical/musicalogical interest, and the late Ops don't really add to what he achieved with Ops 20 and 33.

You've got to be kidding me. Have you ever actually listened to op.76?

Which, by the way, is generally considered one of the Kodaly Quartet's high points.

Claiming that Haydn didn't keep progressing after op.33 is like saying that he didn't need to bother with the Paris and London symphonies. In the case of the quartets there's an evident flaw in that the later quartets were written for a different purpose to the earlier ones. The opus 71/74 set were consciously written for public performance in London, in a concert hall, after Haydn's previous experience, because the whole idea of public performances was developing at that time. Each of them starts with a loud and strong musical gesture so that the audience would shut up and listen. They are among the first works of 'chamber music' that aren't actually intended for a noble's chamber.

It's honestly very silly to torpedo the earliest works as being of 'historical interest' and yet ignore the importance of history to Haydn's later work. One of the reasons that Haydn's career is so important is that he straddles important societal changes. And he did it with damn good music, whether as a junior court musician, a Kapellmeister or the most famous composer in Europe.

[Traverso]

Gesualdo

[Florestan]

You've got to be kidding me. Have you ever actually listened to op.76?

Which, by the way, is generally considered one of the Kodaly Quartet's high points.

Claiming that Haydn didn't keep progressing after op.33 is like saying that he didn't need to bother with the Paris and London symphonies. In the case of the quartets there's an evident flaw in that the later quartets were written for a different purpose to the earlier ones. The opus 71/74 set were consciously written for public performance in London, in a concert hall, after Haydn's previous experience, because the whole idea of public performances was developing at that time. Each of them starts with a loud and strong musical gesture so that the audience would shut up and listen. They are among the first works of 'chamber music' that aren't actually intended for a noble's chamber.

It's honestly very silly to torpedo the earliest works as being of 'historical interest' and yet ignore the importance of history to Haydn's later work. One of the reasons that Haydn's career is so important is that he straddles important societal changes. And he did it with damn good music, whether as a junior court musician, a Kapellmeister or the most famous composer in Europe.

Amen, brother!

[Papy Oli]

Good afternoon all,

Starting a first listen to Saint Matthew's Passion.
(Gardiner/Archiv)

[foxandpeng]

You must also enjoy taking cold showers!

If there is an English composer's music I really dislike, it's the one by PMD. His symphonies are unbearably depressing to these ears, above all the No. 10. Definitely not my cup tea.

Peter Maxwell Davies has never done anything for me and I've tried, I really have. Give me Tippett and Britten any day of the week.

PMD is unlikely to win many popularity awards, I guess. He appears to be the Marmite of British composers. Considering the complexity and relative inaccessibility of some of his writing, the oddness of his structures, and the scarcity of tunes, he isn't the obvious choice when seeking new music. Having said that, I don't think he is any more difficult than lots of other composers enjoyed on GMG. As with most, perseverance unlocks the benefits.

If I were starting again with PMD, I would begin with these.

Doesn't guarantee likes, however. Not everyone will be won over, by any means, I suppose. I would certainly recommend Tippett as as a more immediate return on your listening investment.

Eight Songs for a Mad King
Bassoon Concerto from the Strathclyde Concertos #8
Symphonies #1 and #5
An Orkney Wedding with Sunrise
A Farewell to Stromness
A Spell for Green Corn: The Macdonald Dances
Naxos Quartet #1

[aligreto]

Wagner: Prelude and Good Friday Music from Parsifal [Jochum]





This music is simply divine but then I particularly like the tone and atmosphere of Parsifal in general.

[Jo498]

You've got to be kidding me. Have you ever actually listened to op.76?

Which, by the way, is generally considered one of the Kodaly Quartet's high points.

But op.76 has also the largest discography with many famous and excellent recordings. By now, we have a spectrum of good recordings for most quartets from op.20 on (although not all are as well served as op.20 or 76 and 77).
I don't share the enthusiasm about the Kodaly (although this is based only on a handful of their discs) but I think these recordings were valuable (especially at a time) when there was far as available and they were solid cheap option for getting to know the pieces or closing gaps. But I wouldn't recommend getting the lot unless very cheap. I wouldn't even recommend getting the Angeles although I prefer them (sometimes a bit generic but more lively than Kodaly) or the Buchberger (probably the cheapest, lively but rough and ready in intonation and sound).

Claiming that Haydn didn't keep progressing after op.33 is like saying that he didn't need to bother with the Paris and London symphonies.

It's also simply wrong (although I'd say that op.33 roughly corresponds to the "Paris" symphonies despite being 5 years earlier). Neither is it justified to ignore op.9 and 17, if only to appreciate the steps made with op.20+33. (I also prefer some pieces in op.9 and 17 to some in op.33 or even later works). While I would not claim huge significance for op.1+2 they are also enjoyable works.

[Operafreak]

Mahler: Symphony No. 2 'Resurrection'

Chen Reiss (soprano), Karen Cargill (mezzo-soprano)

Royal Concertgebouw Orchestra & Netherlands Radio Choir, Daniele Gatti

[DavidW]

I beg to differ. I listened to them recently and was mightily impressed, especially by the minuets and the adagios. Incidentally, the performers were the Kodaly.

When I first started listening to Haydn's SQs I really thought that after awhile I would only listen to Op 20 and later.  I'm surprised to find that after all these years I still regularly listen to and enjoy the Op 9 and 17 string quartets.

[Spotted Horses]

More Roussel this norming.

Returned to the second symphony, this time, for variety, the Eschenbach recording with the Orchestre de Paris



Beautiful music beautifully performed. Eschenbach is a bit slower in tempo and neoclassical in approach. A bit less fire and brimstone, a bit more clarity. Unlike Roussel's late symphonies, in which each movement has a discreet place in the symphonic scheme, this piece feels sort of like a suite of symphonic poems, with a mood which is expressionistic rather than impressionistic. A wonderful work which I have not fully appreciated until now.

I also listened to "Pour une fete de printemps" which (as I read) Roussel started, intending it to be the scherzo for the second symphony, although he ultimately completed it as a separate piece. Martinon, ORTF. Again the late 60's sound has some obvious distortion when the bass drum enters, but a convincing performance, nevertheless. This piece is part of Roussel's post-war acerbic phase, but there are some impressionistic clouds floating by.

[Florestan]

When I first started listening to Haydn's SQs I really thought that after awhile I would only listen to Op 20 and later.  I'm surprised to find that after all these years I still regularly listen to and enjoy the Op 9 and 17 string quartets.

[Madiel]

All of this Haydn talk reminds me to go back to listen to the op.1 and 2 quartets properly. I think a quartet before bed each night will be a very pleasant method.

I'd already started trying the Auryn and enjoying them (more than in later opuses).

Night.

[aligreto]

Music by Wirén and Larsson under the baton of Westerberg





Wirén: Serenade for Strings - The opening movement is light and impetuous. The second movement is much more grounded by the pizzicato lower register strings. The third movement, Scherzo, is bright, jaunty and flits about wonderfully. The contrasting Trio Section is a much more sober affair. The final movement is an animated, celebratory March.

Larsson: Pastoral Suite - The wonderful, exhilarating and expansive music in the first movement leads to a contemplative, but equally uplifting, expansive and lyrical slow movement filled with wonderful harmonies. The airy and refreshing third movement is reminiscent of being outdoors and uphill on a fine day. This is wonderful music given a fine performance here.

[aligreto]

More Roussel this norming.

Returned to the second symphony, this time, for variety, the Eschenbach recording with the Orchestre de Paris



Beautiful music beautifully performed. Eschenbach is a bit slower in tempo and neoclassical in approach. A bit less fire and brimstone, a bit more clarity. Unlike Roussel's late symphonies, in which each movement has a discreet place in the symphonic scheme, this piece feels sort of like a suite of symphonic poems, with a mood which is expressionistic rather than impressionistic. A wonderful work which I have not fully appreciated until now.

I also listened to "Pour une fete de printemps" which (as I read) Roussel started, intending it to be the scherzo for the second symphony, although he ultimately completed it as a separate piece. Martinon, ORTF. Again the late 60's sound has some obvious distortion when the bass drum enters, but a convincing performance, nevertheless. This piece is part of Roussel's post-war acerbic phase, but there are some impressionistic clouds floating by.

Cheers. Comments noted, particularly on Symphony No. 2.

[Traverso]

Bach


CD 1


Sonata in G BWV 1001

Partita in A minor BWV 1002

Partita in D minor BWV 1004

[kyjo]

Kyle, time to pounds the table! 

I nearly injured myself pounding the table when I saw classicalgeek listening to Atterberg!

[kyjo]

Sensational disc and program.

Yeah, I listened to the Schreker Intermezzo from this recording and it was ineffably lovely (I wish his Scherzo for string orchestra would've been included as well, though). John Wilson's recordings with the Sinfonia of London seem to have sharply divided opinion in most quarters, but I've enjoyed them immensely for their combination of dazzling playing, splendid sonics, and interesting repertoire.

[Mirror Image]

NP:

Aho
Chamber Symphonies Nos. 1-3
Tapiola Sinfonietta
Stefan Asbury
John-Edward Kelly (alto saxophone)
Tapiola Sinfonietta
Jean-Jacques Kantorow

[kyjo]

You must give a listen to the complete opera sometime, Kyle. I know you're not a fan of the genre, but if you're a Straussian, then his operas are essential listening, IMHO. Der Rosenkavalier is my favorite Strauss opera.

If the complete operas are as good as the orchestral excerpts/fantasies/syntheses from them that I've heard, then sign me up! Now let me just set aside 3 hours out of my schedule to listen to one.