What are you listening 2 now?

Started by Gurn Blanston, September 23, 2019, 05:45:22 AM

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Linz

Brahms Symphony No. 2 in D major op. 73, New York Philharmonic, Artur Rodzinski

ritter

John Ogdon playing French music. The mammoth Dukas Sonata, Schmitt's Deux Mirages, and the Dutilleux Sonata.

Disc 11 of this set I bought today:


Bachtoven

Great playing captured in wonderfully realistic DSD256 audio.

Karl Henning

Again:

Wm Schuman
To Thee, Old Cause, Evocation for Oboe, Brass, Timpani and Strings (1968)
In Praise of Shahn, Canticle for Orchestra (1969)

QuoteIn the spring of 1969, shortly after the death of Ben Shahn, I received a call from Lawrence A. Fleischman of the Kennedy Galleries in New York on behalf of a group of the late artist's friends. Would I accept a commission to compose a work in Shahn?s memory? Because of my admiration for the astonishing achievements of this artist, my response was immediate and affirmative. I began at once to consider what relationship, if any, the music could have to Shahn. My thoughts led me to reject any attempt to portray his works in a specific programmatic manner. I did, however, want to learn more about Shahn from those who knew him well. Actually, although I had been introduced to Shahn several times at large receptions, there was only one occasion, a small gathering at the home of Emily (Genauer) and Fred Gash, when we met for an entire evening. I was struck immediately by the artist's ebullience, far-ranging social interests and insights, and most of all by his optimistic embrace of life. It was from others that I subsequently learned of another equally telling side of his nature. I am particularly indebted to Morris Bressler, who for some thirty years sang for Shahn the folk songs from the Eastern European and Jewish heritage they shared. Mr. Bressler was kind enough to make a tape for me of many of these songs which gave Shahn a continuing link to his generic past. It is my hope that music I have created reflects two prominent characteristics of his nature. Shahn, it seems to me, combined a contrasting yet wholly compatible duality, unabashed optimism and a searching poignancy. The work opens with an extended fast section for orchestral winds and percussion. It is a kind of clarion call. At the climactic moment of this section the entire string choir makes a dramatic entrance which leads to a transition (passionatamente) for strings alone, in slower tempo, leading to the beginning of the principal section of the composition. Here the music, a songlike theme, is first stated in a very slow tempo and marked "tenderly, warmly, expressive." The melody is repeated (at different pitch levels) with developing contrapuntal embellishments. It is heard yet again in a solo trumpet, with harmonization given to the lower brass while the violins play agitated contrasting material. Soon the melody becomes impatient and enters at multiple points in a series of overlappings. The contrasting rhythmic and contrapuntal lines gain in momentum and increase in complexity. There is a culmination which brings a faster tempo and a short rhythmic transition reminiscent of music from the opening section. The conclusion begins innocently enough with simple scherzo-like figures, but matters soon change. There are references to the opening music and the principal song again with its overlapping statements and contrasting rhythmic-melodic materials growing from the spirit of the scherzo but which now have become much more insistent. As the work draws to its conclusion, previous ideas are restated in a variety of new guises which, together with fresh propulsions, all lead to a final acceleration, a spirit of celebration which alone seems apposite for any statement honoring Ben Shahn's memory.


Concerto on Old English Rounds (1973) for viola, female chorus and orchestra
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Linz

Bruckner Symphony No. 5 in B flat Major, 1896 Edition [Doblingler] Revision by Franz Schalk, Munich Philharmonic Orchestra, Hans Knappertsbusch

classicalgeek

Schulhoff: Concerto Doppio, for flute, piano, and orchestra 8
Krenek: Concertino, for flute, violin, piano, and strings *#
d'Indy: Concert for flute, cello, piano, and strings *%
*Maria Prinz, piano
*Karl-Heinz Schutz, flute
#Christoph Koncz, violin
%Robert Nagy, cello
Academy of St. Martin in the Fields
Sir Neville Marriner

(on Spotify)


So much great music, so little time...

Original compositions and orchestrations: https://www.youtube.com/@jmbrannigan

Karl Henning

Quote from: classicalgeek on February 28, 2024, 12:52:16 PMSchulhoff: Concerto Doppio, for flute, piano, and orchestra 8
Krenek: Concertino, for flute, violin, piano, and strings *#
d'Indy: Concert for flute, cello, piano, and strings *%
*Maria Prinz, piano
*Karl-Heinz Schutz, flute
#Christoph Koncz, violin
%Robert Nagy, cello
Academy of St. Martin in the Fields
Sir Neville Marriner

(on Spotify)



Très intéressant!

TD:

Anton Bruckner
Symphony № 9 in d minor
Sergiu Celibidache
Münchner Philharmoniker
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot


Lisztianwagner

Geirr Tveitt
A Hundred Hardanger Tunes, Suite No.2

Bjarte Engeset & Royal Scottish National Orchestra


"You cannot expect the Form before the Idea, for they will come into being together." - Arnold Schönberg

SimonNZ


classicalgeek

Quote from: Karl Henning on February 28, 2024, 02:11:26 PMTrès intéressant!


It was! ;D  I especially enjoyed the Schulhoff.


TD:
Waxman
Sunset Boulevard (complete score)
Royal Scottish National Orchestra
Joel McNeely

(on Spotify)



Brilliant!
So much great music, so little time...

Original compositions and orchestrations: https://www.youtube.com/@jmbrannigan


Linz

Chopin 24 Préludes op.28, Claudio Arrau

Karl Henning

Quote from: classicalgeek on February 28, 2024, 02:40:17 PMIt was! ;D  I especially enjoyed the Schulhoff.

That, I rather suspected.

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

VonStupp

Dmitri Shostakovich
String Quartet 9 in E-flat Major, op. 117
Shostakovich Quartet

VS

"All the good music has already been written by people with wigs and stuff."

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Linz

Roberto Gerhard Symphony No. 4 & Violin Concerto, BBC Symphony Orchestra, Yfrah Neaman, Sir Colin Davis

Karl Henning

Quote from: classicalgeek on February 28, 2024, 02:40:17 PMIt was! ;D  I especially enjoyed the Schulhoff.


I'm also mighty curious about the Křenek
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

steve ridgway

Rachmaninoff: Symphony No.2

Quite pleasant and sounds familiar at times.


Mookalafalas

I got a digital version of this set a while back, and have listened to the first 70 disk on earphones, and some through cheap speakers, while commuting, mostly. It came available for under $100 from Amazon UK, so couldn't resist. Now binging on it through regular stereo system. It is probably mostly psychological, but sound seems so much clearer and better.  Its not Reiner or Szell, but it's still awfully good. On Dvorak's New World now (disk 9).
It's all good...