What are you listening 2 now?

[AnotherSpin]

[ritter]

Chamber music by the short-lived Jean Cartan (1906 - 1932).

[pjme]

The first two seem to be the best this time around.
I just realized I made a mistake: the concertante instrument in the Sixth is a clarinet. I humbly apologize.

At the moment only in German (and Czech): https://miloslav-kabelac.com/de - but the website gives good biographical information. He had a difficult life.....

I found some interesting info at

https://walter-simmons.com/writings/898


"However, I know little about him of a historical or biographical nature, beyond the basic facts one finds in The New Grove; unfortunately, Pierre-E. Barbier's strangely elliptical program notes for the Praga release leave many questions unanswered, while the notes for the Panton disc say virtually nothing. In 1976 I went to Prague to meet with Kabelác and found him evasive and uncommunicative to the point of paranoia. This was shortly before a brain tumor paralyzed him for three years, then killed him. Kabelác seems to have been regarded as Czechoslovakia's leading composer during the 1960s, when many of his works appeared on Supraphon. His career culminated in a concert devoted to his music at the Strasbourg Festival in 1971, which was broadcast internationally. However, I suspect that a combination of the artistic directions in which he was moving and personal-political factors led to the suppression of his music and the obliteration of his reputation from official media of communication, so that by the mid 1970s his work seemed to have disappeared. (I would welcome hearing from any reader who can illuminate this matter.)

M. Barbier's program notes seem at pains to place Kabelác  within the context of Mahler and Schoenberg, but such a characterization seems to me way off the mark. I hear him as much more clearly related to the grim stoicism of Shostakovich, with his somber, brooding harmonic stasis and defiant rhythmic obstinacy. However, in contrast to Shostakovich's sprawling narrative approach, Kabelác  developed a fascination with tiny intervallic and rhythmic cells, which serve as his structural source material. Some of the resulting works appear free and improvisatory in form; others display a sort of compulsive formalism similar to Panufnik. But nearly all are characterized by a grim relentlessness prone to outbursts of violence suggestive of extreme emotional states. Perhaps his most distinctive and characteristic work is a twenty-five-minute orchestral passacaglia composed in 1957 and entitled The Mystery of Time (recorded by Karel Ancerl and the Czech Philharmonic soon after it was written). During the 1960s Kabelác's music moved farther away from traditional syntax and became more idiosyncratic, with greater angularity and dissonance. But he never abandoned the strong feeling of tonal center or the sense of emotional desperation that characterized his work throughout his career.

During the 1960s Kabelác's music moved farther away from traditional syntax and became more idiosyncratic, with greater angularity and dissonance. But he never abandoned the strong feeling of tonal center or the sense of emotional desperation that characterized his work throughout his career.

The Praga release is drawn from live performances dating from the 1960s. With the Symphony No. 5, "Dramatic," composed in 1960, it plunges the listener new to Kabelác into very deep waters, as this is one taxing piece — an expansive forty-minute work in four movements, scored for soprano vocalise and large orchestra. As with most of Kabelác, the musical language itself is based on a chromatic modality that is somewhat exotic in effect, with conjunct lines and triadic harmony. Although its four movements attempt to offer some measure of contrast and variety, the overall effect is very somber and plaintive. Furthermore, the soprano, though not required to engage in any outrageous histrionics, is never used in a conventional cantabile fashion either. Rather, she serves as an omnipresent voice of woe, to the point where the listener may be tempted to cry, "Enough!" I feel ambivalent about saying this, because Kabelác is an extremely interesting and provocative composer, and I have been eagerly awaiting a revival of his work for some time. And as is the case with the more unusual figures, even flawed works have their value and shed light on the output as a whole. This is especially true for a composer as enigmatic as Kabelác. I am not even sure I would call this work "flawed," but it is definitely extreme, and I cannot simply recommend it without some warning. On the other hand, an awful lot of people seem to enjoy the Gorecki Symphony of Sorrowful Songs, which is a natural point for comparison. The Gorecki is probably somewhat easier to take, although it is more monotonous in rhythm and dynamics, because it has a warmth and tenderness missing from the Kabelác. Gorecki sheds tears, whereas Kabelácgrits his teeth. Also, Gorecki uses the soprano more sparingly, allowing long breaks between solos. Libuse Domaninska, one of the foremost Czech sopranos of the 1950s and 60s, deservesconsiderable credit for negotiating this relentlessly demanding part as successfully as she does.

[Harry]

La Bellezza.
The Beauty of 17th Century Violin Music.
See back cover for details.
Musica Alchemica, Lina Tur Bonet.
Recording: 2019, Chiesa di Sant'Eligio dei Ferrari, Rome (Italy).

Lina Tur Bonet charmed the socks of my feet. Her beautiful tone, and thoughtful playing plus a fabulous expression grounded in the details, made me. Resistance is futile, it simply overpowers you like the rays of a Spring sun. Such music and performance has healing powers for many a ailment. "Quaerendo, amoris somnium invenietis" I am duly impressed!
SOTA sound.

[foxandpeng]

Grazyna Bacewicz
Symphony for String Orchestra
Mariusz Smolij
Capella Bydgostiensis
Naxos

Hm. OK so far.

[Harry]

Grazyna Bacewicz
Symphony for String Orchestra
Mariusz Smolij
Capella Bydgostiensis
Naxos

Hm. OK so far.

Sure it's okay, Bacewicz is actually more than okay. Granted it may not be squeaking, gnarling and have all the modern contrivances of outlandish composers you like so much     but it's a hell of a ride anyway. I may not have all the wisdom to access the music you often listen to, but I want you to know, that I want to be buried under all her compositions, at least a hour a day   Her music is like " A feather on the Breath of God" to coin a phrase
Sorry if I step out of line....actually no, I am not sorry at all!

[Harry]

Music From The Time Of Elizabeth I.
See back cover for details.
Academy of Ancient Music, Christopher Hogwood.
Recorded: 1982.

I could write an elogium on the many merits of the L'Oiseau-Lyre recordings from the past, but it is not needed. One term suffices, "Gorgeous".
Excellent recording and performances.

[Que]

As recommended by Harry!  
A generous selection of lute music by Weiss (physically on 2 discs).

[Madiel]

Brahms sextet no.1



Apparently my last listen was a touch over 7 years ago. My spreadsheet is scary sometimes.

[Iota]

Britten: String Quartet No 3, Op 94

Britten creates such a feeling of loneliness in these quartets sometimes, framed in lean, clear manner the effect is breathtakingly lovely and very moving.

[ChamberNut]

Concluding my Mozart Orchestral Serenades streaming extravaganza! What a joyous ride.  For some reason, Presto didn't have the Sandor Vegh Posthorn Serenade, thus I streamed this performance instead:

Mozart

Serenade No. 9 in D, K320 "Posthorn"

[ChamberNut]

Galina Ustvolskaya
Sonata For Violin and Piano
Duet for Violin and Piano

Patricia Kopatchinskaja, violin | Markus Hinterhäuser, piano

Welcome to GMG!! 

[Traverso]

Concluding my Mozart Orchestral Serenades streaming extravaganza! What a joyous ride.  For some reason, Presto didn't have the Sandor Vegh Posthorn Serenade, thus I streamed this performance instead:

Mozart

Serenade No. 9 in D, K320 "Posthorn"

You have to look for this one....

[ChamberNut]

You have to look for this one....

Thank you. They didn't have this one, unfortunately.

[Traverso]

Bach

[hopefullytrusting]

I have the Stenhammer Quartet's recording of the complete String Quartets. I think they should be much better known.

TD

Symphonies 5 and 6. The "Drammatica" is essentially 30+ minutes of soprano vocalises. I remember not being keen on it when I listened to it before; reacquaintance has not improved my opinion. The "Concertante" features a solo oboe; hopefully it's better.

All those pieces definitely had a distinct influence that was missing from some of his earlier works - I especially enjoyed the String Quartet No. 6, which was quite dark, and the solo piano collection - Late Summer, which is in that long long of nationalistic, poetic pianism that comes from that region of the world. I'll be visiting more of his work later, as I love composers whose careers can be made discrete.

[hopefullytrusting]

Right now, Stenhammar's The Song

[foxandpeng]

Sure it's okay, Bacewicz is actually more than okay. Granted it may not be squeaking, gnarling and have all the modern contrivances of outlandish composers you like so much     but it's a hell of a ride anyway. I may not have all the wisdom to access the music you often listen to, but I want you to know, that I want to be buried under all her compositions, at least a hour a day   Her music is like " A feather on the Breath of God" to coin a phrase
Sorry if I step out of line....actually no, I am not sorry at all!

I suspect Bacewicz will grow on me, Harry, because patience reaps it's own rewards. I look forward to exploring far more beyond my first couple of listens, and look forward to sharing your joy. Or not 😄. Squeaks and howls, or their absence, notwithstanding 😁😁

The point is, the thing that will make GMG a pleasant place to be, is a conversation like this one. Harry, who I respect, thinks Bacewicz is amazing. I might, but don't know yet. I might hate the rest of it. Whatever the outcome, Harry and I won't fall out.

"Bacewicz is amazing"
"No, she isn't. She sucks and can't compose for toffee!"
"Yes, she can"
"No, she can't"
"You're an idiot!"
"No, you're an idiot!"

Never happening.

Here endeth the sermon. Feel free to throw rocks. I'll be over here listening to music and learning from your diverse posts and opinions.

[ritter]

Beethoven: Symphony No. 8, op. 93. Carl Schuricht conducts the Paris Conservatoire Orchestra.

CD4 of the Warner "Icon" box:

[ChamberNut]

I suspect Bacewicz will grow on me, Harry, because patience reaps it's own rewards. I look forward to exploring far more beyond my first couple of listens, and look forward to sharing your joy. Or not 😄. Squeaks and howls, or their absence, notwithstanding 😁😁

The point is, the thing that will make GMG a pleasant place to be, is a conversation like this one. Harry, who I respect, thinks Bacewicz is amazing. I might, but don't know yet. I might hate the rest of it. Whatever the outcome, Harry and I won't fall out.

"Bacewicz is amazing"
"No, she isn't. She sucks and can't compose for toffee!"
"Yes, she can"
"No, she can't"
"You're an idiot!"
"No, you're an idiot!"

Never happening.

Here endeth the sermon. Feel free to throw rocks. I'll be over here listening to music and learning from your diverse posts and opinions.

As a fellow Bacewicz junkie, you MUST love her music. Comply!