What are you listening 2 now?

[Madiel]

Mozart: 6 German Dances, K.509



These are striking me as very well-judged performances, there's a nice pace and lilt to the dances without anything feeling rushed. It very much feels like music you can dance to.

[AnotherSpin]

Well from the point of view of informed performance, there are other keyboard pieces with voice obligato, in Frescobaldi and Hassler for example.  And of course that is a song.  It seems to me eminently justifiable to read Bach's inclusion of a popular song as an invitation to sing along - what could be more natural?

From a more general critical point of view, it reminds the listener of the presence of the harpsichordist, it is like a jolt which desacralises the whole performance. The singing makes the music more human, more earthy and less disembodied.

(The tuning of Vartolo's harpsichord - presumably equal - doesn't help the performance IMO. It makes it too "straight", and I don't think the rubato can compensate for that. Compare the harmonies in Var 1 with the wonderful Egarr.) 

I like Vartolo's version, and today it actually sounded even better than I remembered from past listens—really quite a treat.

I'm not someone who insists on strict rules or sticking rigidly to tradition; if anything, I tend to lean the other way. That said, I just don't think that slightly jittery, a bit off-kilter vocal adds much. Honestly, the interpretation feels plenty human and relaxed without it.

[Madiel]

Mozart: Rondo in A minor, K.511



I don't think I've ever heard this work before. I have Uchida's set of Mozart piano sonatas, but I didn't know some of the original albums had couplings (EDIT: It seems there were 7 discs, as opposed to the 5 in the later compilation of sonatas). And this is quite a substantial coupling, over 10 minutes long and with definite substance.

[foxandpeng]

Yes, having a structure of some kind, especially when doing a deeper dive into a composer's oeuvre is always a good thing or, at least, I'm speaking from my own experience.

Have you got to Henze's SQs yet? I recall enjoying these works, but, as I mentioned previously, I'm long overdue for a Henze-a-thon.

Always happy to observe and participate in a Heze-athon. Never heard a single SQ of his!

[Roasted Swan]

Edvard Grieg.
Orchestral Works, Volume II.
WDR Sinfonieorchester Köln, Eivind Aadland.
Recorded: 2009.

The sound world of  Grieg is in good hands with this Orchestra. Aadland is placing much emphasis on a folk-music interpretation, and the Orchestra follows in this mode. It is funny to notice that Aadland is totally dispensing with vibrato in the strings, no sentimental journey, but a straightforward interpretation without fizzles and artefacts, clean and free of enhancing the music into a romantic overdose. You get a balanced and more truthful Grieg as in overblown interpretations of his music.
The dynamic range of this recording is mind blowing, as all the details you get, but you need a very good HIFI as not to blow your speakers to smithereens. Amazing SACD recording. The first volume in this series was not done well in this respect, but the second volume is.

A very interesting and thought-provoking review Harry.  I have this set (complete) and I do have a fairly decent SACD player although overall my hi-fi set up is very modest.  My over-riding impression was of a very well played and well recorded set that lacked musical characterisation - which I put firmly at the door of Aadland.  I'm a bit of a Grieg fan so I also have the sets from Jarvi on DG, Ruud on BIS and Engeset on Naxos and I'd place Aadlund 4th in such company BUT your mentioning of the refined detail/dynamic range and general subtlety of interpretation did make me wonder if my response is in part dictated/defined by the limitations of my sound system.  So less subtle performances "come across" better on a less sophisticated system (or perhaps I just like vibrato!!)

[Mandryka]

I like Vartolo's version, and today it actually sounded even better than I remembered from past listens—really quite a treat.

I'm not someone who insists on strict rules or sticking rigidly to tradition; if anything, I tend to lean the other way. That said, I just don't think that slightly jittery, a bit off-kilter vocal adds much. Honestly, the interpretation feels plenty human and relaxed without it.

What I've found is that you have to be in the right frame of mind for Vartolo's rubato in a piece which is as familiar as The Goldberg Variations. Sometimes it sounds totally natural to me, sometimes it sounds too much of an intervention. Vartolo is wonderful in Froberger, Scarlatti on harpsichord and Frescobaldi too.

[AnotherSpin]

[foxandpeng]

Anton Bruckner Symphony No. 6 in E Major, 1881 Version. Ed. Robert Haas
Royal Concertgebouw Orchestra, Bernard Haitink

I am constantly amazed by just how much Bruckner you play. You must know his symphonies better than anybody else at GMG.

How on earth do you manage to maintain an interest in music that you clearly know so deeply?

[Madiel]

Stravinsky: Jeu de Cartes



The other one of Volkov's Stravinsky ballet discs, which I've owned for 10 years (versus a few weeks for its partner).

Each one of the neoclassical ballets so far is just slightly different. This one feels a bit more relaxed and fun. Maybe there's more of an American vibe to it.

[DavidW]

I really like this new recording of the Brahms symphonies with Gardiner/RCO. It is fresh without sounding overly exaggerated.

[Florestan]

Ciccolini's Nocturnes are gentle, tender, caressing, amiable, soft, warm, singable and humane. Star-lit Mediterranean nights. One of the best versions I've ever heard, highly recommended.

[Der lächelnde Schatten]

Always happy to observe and participate in a Heze-athon. Never heard a single SQ of his!

It might be some time before I swing back around to Henze, but his SQs are quite good (if memory is serving me correctly).

[Der lächelnde Schatten]

Now playing Mendelssohn Octet in E flat major, Op. 20

[Der lächelnde Schatten]

Stravinsky: Jeu de Cartes



The other one of Volkov's Stravinsky ballet discs, which I've owned for 10 years (versus a few weeks for its partner).

Each one of the neoclassical ballets so far is just slightly different. This one feels a bit more relaxed and fun. Maybe there's more of an American vibe to it.

I dig all three of Volkov's Stravinsky recordings on Hyperion. FWIW, Orpheus is my favorite of Stravinsky's Neoclassical ballets.

[Linz]

Anton Bruckner Symphony No. 4 in E Flat Major, 1878/80 Version (1880 with Bruckner's 1886 revisions) - Ed. Leopold Nowak
Frankfurt Radio Symphony, Paavo Järvi

[Madiel]

I dig all three of Volkov's Stravinsky recordings on Hyperion. FWIW, Orpheus is my favorite of Stravinsky's Neoclassical ballets.

It was you who reminded me that the disc of The Fairy's Kiss and Scenes de Ballet existed. Which completed my set of Stravinsky ballets perfectly. And yes, Orpheus is my favourite of the ones I already know.

[Florestan]

I am constantly amazed by just how much Bruckner you play. You must know his symphonies better than anybody else at GMG.

How on earth do you manage to maintain an interest in music that you clearly know so deeply?

He never answers any question. I guess he's too busy listening to Bruckner. 

[Que]

Maybe 30% of the contents? Skipping around, not going in chronological order, and I don't expect to get through all of it. Plus, not everything is really of interest, which is one way of saying that Ormandy's range was enormous.

It seems on those days all conductors conducted and recorded the same "iron repertoire", plus what was of particular interest to them. Usually the latter category is more interesting! 

[ChamberNut]

I am constantly amazed by just how much Bruckner you play. You must know his symphonies better than anybody else at GMG.

How on earth do you manage to maintain an interest in music that you clearly know so deeply?

I think Linz's "Reply" button needs a new battery.

[foxandpeng]

I think Linz's "Reply" button needs a new battery.

I think you might be right. Hopefully it will be fixed for this one!