What are you listening 2 now?

[JBS]

[Karl Henning]

Nice!

[JBS]

The reward of a Tashi is another Tashi


These btw are part of the Sony Peter Serkin set.

[bhodges]

Beethoven: String Quartet No. 12 in E-Flat Major, Op. 127, with Quatuor Ébène. After listening to the Ariel Quartet coach a group of students in the opening movement of this piece -- part of the Bowdoin Music Festival -- I wanted to hear the whole thing. This one popped up, recorded in July 2020 at the Evian Festival, and is warm and inviting.

https://www.youtube.com/watch?v=IZfR3JzCV8I

--Bruce

[Mapman]

Mahler: Symphony #3
Berstein: Concertgebouw

A good recording, although I think I prefer the earlier New York version. I didn't mind the boy soprano (although I was almost falling asleep at that point).

[JBS]

Enough time for a third Tashi CD

[Operafreak]

Three Orchestral Fantasies & Sinfonie Heroïque-Die Kölner Akademie, Michael Alexander Willens

[Que]

Morning listening:

[Harry]

Johann Sebastian Bach.

Das Wohltemperierte Clavier.
CD II.
BWV 858-869.
Davitt Moroney plays on a Harpsichord by John Phillips, 1980.

After the discourse yesterday about the merits and demerits, I decided that Moroney does an excellent job. Academic yes, but not without feeling. His playing is bubbling and fresh as a other member of GMG wrote, and I tend to agree. There is plenty of room for many interpretations, and in this I agree with Premont. I have no adverse feelings when listening to him, far from it, I revel in listening to his evocative and deep insight into the workings of this music. And furthermore, I look forward to the excellent rendering of this music by Bob van Asperen, in many ways as admirable as Moroney, and many other sets. I think I am going to buy more interpretations of "Das Wohltemperierte Clavier"  and am open for recommendations. Which sets do I really need, apart from the two I already have?

[Roasted Swan]

Oh my goodness, coming at me with the hard hitting questions I see. Off the top of my head:

Piano Concerto No.2
3 Intermezzi, op.117
Symphony No.2

I don't know if I can stand behind these selections for the rest of my life, but they will have to do for now 

I don't know the Intermezzi but I do have them in a set played by Peter Rosel (whose playing I like) - so I'll listen to that later!

EDIT:  just finished listening to the Op.117 Intermezzi - what gorgeous pensive and gently melancholic music.  I'm not sure I've ever heard them before.  I bought this set by Peter Rosel



some time ago but have really just dipped into it.  I think the original recordings are 1970's East German origin but the sound is very good - quite close and intimate but warm.  I do like Rosel's playing a lot - he turns up on quite a few East German sourced programmes/discs - I first heard him doing some of the big Bach/Busoni works and that's remained my favourite version ever since.

Thankyou for pointing me in the direction of these Intermezzi though - I will explore more of the adjacent opus numbers now as well - why/for whom did Brahms suddenly do a batch of piano writin for his Op.116-119?

[Que]

On my list! Thanks.

Happy hunting. 

Thread duty:

[Harry]

Happy hunting. 

Thread duty:

Aufschnaiter is a fine composer. I was surprised to hear so much quality in his music. I'am definitively are going to sample more CD'S.

[Harry]

Kurt Atterberg.
String Quartet, opus 11 & opus 2/opus 39.

Ture Rangström.
String Quartet, ( Un notturno nella di E. Th. A. Hoffmann.

Stenhammar Quartet.

What a worthwhile journey through the music by Atterberg and Rangström. Thoroughly enjoyable, in pristine performances and sound. Atterberg his SQ's are of artistically on a very high level, as is Rangström's SQ. I bought this in 2016, and played it three times in a row, so the info attached to the CD says. This is the Fourth time, and there will be many more times come.

[Harry]

I am on a culling spree through my collection.
Today I removed all Chamber music I have by Malcolm Arnold.
Meaning the Hyperion and Naxos recordings. The Music did not appeal to me anymore, that happens sometimes.
The symphonies though are still favourites with me, so not all is lost.
The pile of culled CD's is getting higher, and I start worrying what to do with them, for no one seems to want discarded CD's.

[aligreto]

JS Bach: Cantata "Ein feste Burg ist unser Gott" BWV 80 [Rifkin]





The various choral offerings here sound reasonably full and do not suffer too much from Rifkin's OVPP treatment in terms of depth and breadth, for me. This may however be purely down to the quality of the contrapuntal writing or to the fact that it is lead by a good, full sounding bass and when that voice is absent from the scoring the accompaniment is always, in itself, full sounding and well driven. The soprano also makes a fine contribution as do both the alto and tenor in their respective arias. The orchestral accompaniment is robust, lilting and pulsating. The orchestral direction is particularly well done by Rifkin. I particularly like the scoring for the various oboes in this work.

[aligreto]

Johannes Brahms' Symphony No. 3 
    Charles Mackerras, Scottish Chamber Orchestra

That Mackerras cycle was, years ago, my ultimate conversion to really appreciating the symphonies of Brahms.

[aligreto]

Gustav Mahler: Symphony No.2 in C minor, "Resurrection". Georg Solti, London Symphony Orchestra & Chorus, with Helen Watts and Heather Harper, vocal soloists

I should know better than to play this symphony over and over again, but I can't get enough!

Absolutely no harm in that whatsoever!

[Operafreak]

Dvořák: Symphony No. 8 in G major, Op. 88/ Dvořák: Symphony No. 9 in E minor, Op. 95 'From the New World'

    Staatskapelle Berlin-    Otmar Suitner

[Harry]

Johann Sebastian Bach.

"The Well Tempered Clavier".
CD II-BWV 858-89.

Bob van Asperen plays on a Christian Zell, 1728.

A strong competitor in the field. I like his expressive stance, and pace. Van Asperen opens up a completely different aspect of the music, namely finely dosed warmth and a passionate streak that gives it extra drive. What a treat that all the different approaches can be so satisfying. But then I love these compositions to bits, that helps also.

[Que]

The pile of culled CD's is getting higher, and I start worrying what to do with them, for no one seems to want discarded CD's.

Same here. No interest whatsoever...
In the UK and Germany there are online companies that will take everything and resell it ( dodax, momox/medimops), but no such luck in the Netherlands. I can buy from them, but not sell...