What are you listening 2 now?

[Harry]

Cheers, PD 🙂

You may well be right, as we often go to see Shakespeare at the RSC, and even plays such as Pericles which we watched only a week ago, are enhanced by the physical event and trappings of theatre. Obviously not one of the Bard's strongest works (in fact, it is a collaborated play with Wilkins), but where the dialogue is weak, good stage direction and strong acting can carry the day. Still doesn't make it Lear or Macbeth, but its complex plot line and stilted dialogue seem less important in the face of the grease paint and the clowns (as it were).

Every play and every opera (I suspect), is improved by an understanding of characters and story.

I will confess to having almost enjoyed The Trojans and some of Wagner's Ring Cycle, but the former is a long time ago and the latter is probably more about buxom Teutonic interpretations of Norse mythology than anything else. Guttural Germans shouting across the stage at one another always sounded better than lilting Italian costumery...

Maybe a trip to Bayreuth is calling...

That made me grin from ear to ear, honestly      

[Traverso]

If it is of any consolation, several Channel Classics CDs have been in my collection for decades, and I too thought the logo was a sailing ship... 

oh dear.....there must be some Freudian explanation for this.

[DavidW]

Have a great afternoon lined up!

[NumberSix]

Bruckner: Symphony No. 4
Wand, Munich

[NumberSix]

Have a great afternoon lined up!

Ibragimova has a lovely Mendelssohn Concerto recording I enjoy, and her Chiaroscuro Quartet does some good stuff.

[Linz]

Bruckner Symphony No. 2 in C Minor, 1877 Version. Ed. William Carragan - Removes remaining Haas anomalies, Berliner Philharmoniker, Daniel Barenboim 

[Karl Henning]

Some of Igor Markevitch's original music tonight...

Always interesting!

TD: Because @DavidW reminded me of these:

Mieczysław Weinberg
Sonata for Solo Cello № 2, Op. 86
Josef Feigelson

[Karl Henning]

Curlew River is another piece for men only, with one part played in drag

Brilliant scoring! I studied that in Judith Shatin's studio.

[ritter]

How was the PC? I have no idea which style Markevitch wrote in?

Well, the Concerto is quite an achievement for a 16-year-old composer! It's really indebted to Les Six, but feels as if Markevitch had come late to the party....

[Karl Henning]

And now:

Mieczysław Weinberg
Sonata for Solo Cello № 3, Op. 106
Josef Feigelson

[NumberSix]

Bruckner: Symphony No. 4
Wand, Munich

I like how the Hänssler live discs include the applause at the end of a symphony. It's nice.

[NumberSix]

Early Romantic Overtures
Norrington, London Classical Players

[Florestan]

Re: Opera @foxandpeng @Irons

Guys, have you ever tried to listen to an opera, any opera, without any concern for the libretto, action or words? I mean, just letting the music flow over you as if the voices were just instruments supplementing those in the orchestra? Not trying to understand anything, nor following any action? It might --- just might --- be an exhilarating experience that could even unlock the whole thing for you. 

It's the very opposite of what @Pohjolas Daughter suggested, I know, but hey, whatever might work for getting someone into opera is worth trying. 

[Linz]

Wolfgang Amadeus Mozart Complete Clavier-Concerte
Concert 11 F-Dur KV 413
Concert 13 C-Dur KV 415
Concert 14 Es-Dur KV 449, Anima Eterna, Jos van Immerseel

[Symphonic Addict]

It is a great, crazy bacchanal/ spooky ritual ending in an orchestral blaze with wind machine, wailing chorus and organ!

Such a bold statement.

[Symphonic Addict]

Frankel: Symphonies 1 and 2

If I'm not mistaken, these works have elements of twelve tones, and Frankel uses them in a way that doesn't get too dissonant.

[Linz]

Mozart Symphonies No. 39 in E-Flat Major, K. 543 and Symphony No. 40 in G Minor, K. 550
Debussy Danses Sacrée et profane,  Wiener Philharmoniker, Ferenc Fricsay

[foxandpeng]

Re: Opera @foxandpeng @Irons

Guys, have you ever tried to listen to an opera, any opera, without any concern for the libretto, action or words? I mean, just letting the music flow over you as if the voices were just instruments supplementing those in the orchestra? Not trying to understand anything, nor following any action? It might --- just might --- be an exhilarating experience that could even unlock the whole thing for you. 

It's the very opposite of what @Pohjolas Daughter suggested, I know, but hey, whatever might work for getting someone into opera is worth trying. 

I have to confess that I don't usually really 'do' lyrics. There are songs that I've listened to for years but couldn't tell you the most basic lyrics beyond a few snippets. Probably not helped by being a primary metalhead who listens to non-English bands using harsh vocals.

For me, vocal classical music, including opera, almost always uses the voice as just another instrument. PD's suggestion to get into the narrative would be a different approach to my regular listening 🙂

[foxandpeng]

Frankel: Symphonies 1 and 2

If I'm not mistaken, these works have elements of twelve tones, and Frankel use them in a way that doesn't get too dissonant.

Agreed. I like these, too.

[VonStupp]

Franz Schmidt
Clarinet Quintet in A Major

Christopher Ayer, clarinet
Kae Hosoda-Ayer, left-hand piano
Jennifer Dalmas, violin; Kathryn Steely, viola
Evgeni Raychev, cello

Despite its great length, this was yet another delightful chamber work from Schmidt. Consider me convinced!

The players here are all professors of their respective instruments from Baylor and Stephen F. Austin Universities in Texas.
VS