What are you listening 2 now?

[Harry]

Samuel Barber.

Orchestral works, volume II.

Cello Concerto, opus 22.
Medea Ballet Suite, opus 23.
Adagio for Strings.

Wendy Warner, Cello.
Royal Scottish National Orchestra, Marin Alsop.

[Mandryka]

Desert island stuff, the whole set.

For me, it's he's example of pianistic Bildungsbürgertum: well educated and considerate of what he does, he certainly interprets score, but the focus is on sonority, for the most part.

[Florestan]

For me, it's an example of pianistic Bildungsbuergertum: well educated and considerate of what he does, he certainly interprets score, but the focus is on sonority, for the most part.

I'm not sure I understand what you mean.

[Mandryka]

I'm not sure I understand what you mean.

I mean that he is considerate, thoughtful, refined and that his piano playing sounds beautiful. His interpretations are modest and respectful. In lieder performance, where I've seen the term Bildungsbürgertum used before, Mathias Goerne is an example. The other end of the spectrum -- angsty and spontaneous -- is someone like early Argerich. Christian Gerhaher in the the lied.

[Florestan]

I mean that he is considerate, thoughtful, refined and that his piano playing sounds beautiful. His interpretations are modest and respectful.

I see now. Well, is this good or bad?

[Que]

[Florestan]

[Mandryka]

I see now. Well, is this good or bad?

What I can say fairly confidently is that I have very much enjoyed his 1969 Leeds Piano Competition recital on YouTube. If you get the chance to listen to it I'd be interested to know whether you think his way of making music changed as he matured.

[Florestan]

What I can say fairly confidently is that I have very much enjoyed his 1969 Leeds Piano Competition recital on YouTube. If you get the chance to listen to it I'd be interested to know whether you think his way of making music changed as he matured.

I could find only one such video, featuring Schubert's Impromptus Op. 90. Is this what you refer to?

[DavidW]

We have the pre-critical edition of Titan as symphonic poems instead of as a symphony.  The orchestra performs on period German instruments.  In particular as the booklet asserts, the woodwinds are more powerful but with slower articulation.  They employ gut strings which lends itself to the faster attacks that PI performances are known for.  When you listen to Handel, Bach etc. PI is night and day.  Classical and early romantic era it makes a difference, but as you push on naturally it becomes more subtle.  But it is worth listening to, even if just for the liberal use of portamento which is not as popular in modern performances.  And it is an excellent performance, not just something to listen to out of some academic curiosity.

[vandermolen]

Samuel Barber.

Orchestral works, volume II.

Cello Concerto, opus 22.
Medea Ballet Suite, opus 23.
Adagio for Strings.

Wendy Warner, Cello.
Royal Scottish National Orchestra, Marin Alsop.

An excellent CD! Arguably the best in that series:

TD

Moeran: Symphony in G minor
Ulster Orchestra/Vernon Handley
This performance has grown on me over the years and I now rate it very highly:

[Mandryka]

I could find only one such video, featuring Schubert's Impromptus Op. 90. Is this what you refer to?

Yep

[Papy Oli]

Good afternoon all.

JS Bach - Cantata BWV 66 & BWV 6 (Gardiner SDG vol.22)

[Florestan]

Yep

Ok, will listen later.

[Mandryka]

Lupu's farewell encore. He looks as thought he's been through the mill I'm afraid.

https://m.youtube.com/watch?v=eBa3Q5SXTeo

[Florestan]

Lupu's farewell encore. He looks as thought he's been through the mill I'm afraid.

https://m.youtube.com/watch?v=eBa3Q5SXTeo

Valedictory.

[Operafreak]

Requiem – The Pity of War

Mahler – Stephan – Butterworth – Weill

Ian Bostridge (tenor), Sir Antonio Pappano (piano)

[Madiel]

Holmboe: Symphony no. 2



This symphony doesn't seem frequently discussed, even by our resident Holmboites/Holmbonians, but I found it utterly compelling in Holmboe's typically organic and narratively gripping style, notwithstanding a rather unsubtle reference to Nielsen's 5th near the end of the 1st movement. If I have one criticism of Holmboe's style, it's his tendency to overuse the snare drum and cymbals in his orchestration, which can approach tiresomeness. Maybe it's just that those instruments are very forwardly balanced in these BIS recordings of the symphonies?

Well, I think it was only earlier this week I was saying I thought it was Holmboe's first masterpiece...

[Harry]

Arnold Bax.

Piano works.
Volume I.

Piano Sonata No. 1 & 2.
Dream in Exile: Intermezzo.
Burlesque.
Nereid.
In a Vodka Shop.

Ashley Wass, Piano.

Bax his compositions always draw me in deep, whether it be his Symphonies, Chamber music, or in this case solo piano works. He is such a considerate composer, and he lets every note count. The world of imagination he opens up for me has no limits.
Ashley Wass, captures this spirit quite well, already noticeable in the first Piano Sonata, were the myriad of details and moods prevail in a flow that is bound together by sheer musicality.
Michael Ponder made a fantastic recording.

[Madiel]

Over the last couple of days, Mozart: the 'Viennese' quartets (numbers 8 to 13)