What are you listening 2 now?

[vandermolen]

George Dyson
Quo Vadis

Cheryl Barker, soprano / Jean Rigby, mezzo
Philip Langridge, tenor / Roderick Williams, baritone
Royal Welsh College Chamber Choir
BBC National Orchestra & Chorus of Wales
Sir Richard Hickox

For today:

VS

Quo Vadis has a few loguers but it is a fine work with a particularly moving final section demonstrating 'an affirmative sense of homecoming' as I recall the notes stating.

[Dry Brett Kavanaugh]

Interesting cover art, Todd. Do you happen to know who the artist is?

[Dry Brett Kavanaugh]

Scriabin SY1. Kitayenko/Frankfurt.


 

[Todd]

Interesting cover art, Todd. Do you happen to know who the artist is?

No. 

[Spotted Horses]

Scriabin SY1. Kitayenko/Frankfurt.


 

I didn't know about that. I'm generally a fan of Kitayenko.

[Dry Brett Kavanaugh]

I didn't know about that. I'm generally a fan of Kitayenko.

I like Kitayenko too. He added cymbals a little so critics don't like it.

[Spotted Horses]

I like Kitayenko too. He added cymbals a little so critics don't like it.

I don't like cymbals.

[Karl Henning]

I don't like cymbals.

Could be worse: he might have added cowbell.

(* chortle *)

[JBS]

Interesting cover art, Todd. Do you happen to know who the artist is?

View of Munich by Bellotto. [I've got in the Perahia First Forty Years box.]

TD

Bruckner 7 1885 version
Sibelius 1
Recordings made in January 1935

[Operafreak]

Scriabin: Vers La Flamme-Vladimir Ashkenazy (piano)

[Dry Brett Kavanaugh]

View of Munich by Bellotto. [I've got in the Perahia First Forty Years box.]

TD

Bruckner 7 1885 version
Sibelius 1
Recordings made in January 1935

Thank you very much. Plus the Ormandy box looks so cool!

[Lisztianwagner]

Pyotr Ilyich Tchaikovsky
Symphony No.4

[JBS]

Thank you very much. Plus the Ormandy box looks so cool!

It's a nice one. Sound is usually good, but not always, for a 1930s recording. There's some solid meat with many bon-bons, just what you might expect from a collection of orchestral recordings. Worst thing is using a peal of courthouse bells in the final moments of Mahler 2, thereby overwhelming the music, chorus, orchestra, and all. And the brass has intonation problems at some points.
But I'm glad I have it.

[Karl Henning]

It's a nice one. Sound is usually good, but not always, for a 1930s recording. There's some solid meat with many bon-bons, just what you might expect from a collection of orchestral recordings. Worst thing is using a peal of courthouse bells in the final moments of Mahler 2, thereby overwhelming the music, chorus, orchestra, and all. And the brass has intonation problems at some points.
But I'm glad I have it.

Nice!

[ritter]

Some Poulenc from the big box.



CD 7: Aubade (Gabriel Tacchino at the piano, with the Paris Conservatoire Orchestra), Les Biches (Ambrosian Singers & Philharmonia Orchestra), Les Animaux modèles (Paris Conservatoire Orchestra), and Bucolique (Philharmonia Orchestra), all conducted by Georges Prêtre.

[SonicMan46]

Mozart, WA - Solo Piano Works w/ Kristian Bezuidenhout on fortepianos (Derek Adlam, 1987 after Anton Walter, Vienna, ca. 1795 and Paul McNulty, 2008 after Anton Walter & Sohn, Vienna, ca. 1802) - first 3 discs of 9 for the morning; some reviews attached for those interested.  Dave

[Roasted Swan]

Vaughan Williams: Symphony No 6 in E minor - BBC Symphony Orchestra conducted by Martyn Brabbins - fine performance, excellent sound

I was listening to this earlier as well - I'd agree on both points.....

[Traverso]

Some Poulenc from the big box.



CD 7: Aubade (Gabriel Tacchino at the piano, with the Paris Conservatoire Orchestra), Les Biches (Ambrosian Singers & Philharmonia Orchestra), Les Animaux modèles (Paris Conservatoire Orchestra), and Bucolique (Philharmonia Orchestra), all conducted by Georges Prêtre.

That's a great box Rafael,enjoy your weekend...

[Traverso]

Rameau

Some of us think that Leonhardt and the Frankenstein monster are one and the same entity.
Who cares, all what matters is the sounding result.

[aligreto]

Bruckner: Symphony No. 5 [Celibidache]





The opening movement is powerful and Celibidache is oftentimes wonderfully ruminative. The music, or indeed the performances, never falters or feels oppressive. The brass section is powerful in its respective passages. There is wonderful intensity throughout the first movement.

The abundance of wonderfully haunting melodies in the slow movement are given very sensitive and expansive presentations by Celibidache. Once again we experience a heightened sense of intensity in this movement and it is well driven. The brass, once again, is glorious.

The third movement is a passionate affair and the performance is very well driven with wonderful biting brass.

I find that the final movement begins somewhat tentatively and hesitatingly. However, Celibidache gradually unfolds the music lovingly and exposes the wonderful contents of it. It has an appropriately powerful conclusion.

From the opening bars there is a depth of emotion in this presentation that is deeply felt all of the way through the performance. This is a live performance and it carries all of the tension and electricity that is normally associated with a good live performance.