What are you listening 2 now?

[brewski]

About to listen to Salome by Richard Strauss, live from the Met. Listening on WRTI, but likely other radio stations are carrying it, too.

[Karl Henning]

Consequently, again:

And from the Op. 67 to the Op. 68:

[Traverso]

Stravinsky


 

[Dry Brett Kavanaugh]

René Challan: Concerto Pastoral.

[Karl Henning]

[Linz]

Joseph Joachim Raff Cello Concertos Nos. 1 & 2
Daniel Müller-Schott, cello Robert Kulek, Piano
Baberger Symphoniker,  Hans Stadlmair

[Lisztianwagner]

Samuel Barber
Knoxville: Summer of 1915
Toccata Festiva

Karina Gauvin (soprano), Thomas Trotter (organ)
Marin Alsop & Royal Scottish National Orchestra

[Christo]

Samuel Barber
Knoxville: Summer of 1915
Toccata Festiva

Karina Gauvin (soprano), Thomas Trotter (organ)
Marin Alsop & Royal Scottish National Orchestra

I think Knoxville is perhaps Barber's most beautiful piece, but much if not everything depends on the right soprano. Not a 'screaming soprano' (Harry dixit), but a lyrical, narrative one, without vibrato or other quirks. Really good performances are therefore rare. How do you think Karin Gauvin does it? 

[Lisztianwagner]

I think Knoxville is perhaps Barber's most beautiful piece, but much if not everything depends on the right soprano. Not a 'screaming soprano' (Harry dixit), but a lyrical, narrative one, without vibrato or other quirks. Really good performances are therefore rare. How do you think Karin Gauvin does it? 

Definitely, it is a very touching and suggestive work, I agree that for a piece where the vocal part is so prominent, the right soprano is essential, like in Pierrot Lunaire, for example. I don't find Gauvin screaming (at least not in an annoying way), I think she conveys the right peaceful and sweetly nostalgic atmosphere; but my favourite version remains the Price with Schippers/New Philharmonia.

[Linz]

Anton Bruckner Symphony No. 7 in E Major, 1885 Version. Ed.Leopold Nowak
Royal Concertgebouw Orchestra, Amsterdam, Bernard Haitink

[VonStupp]

The Cantata Academica is a splendid work and I believe this is still the only recording of it --- actually, no, I'm wrong. There's a recording of it on Supraphon, but I don't think it was ever issued on CD. I also agree with you in regards to the Cantata Misericordium. Of the other works listed, Six Hölderin Fragments and The Poet's Echo are superb. Of course, I enjoy all of the Canticles and the Children's Crusade is quite good.

It's been great seeing you dive into the crevasses of Britten's oeuvre. I'm not quite doing that right now (although I certainly have in the past) as the operas seem to have captured my attention for the time being.

I have been meaning to explore more Britten, and now seemed a good time to do it. 

I usually think of Barber and Vaughan Williams when it comes to the 20th-Century English-language art song, but after my recent listening, I think Britten needs to be there too.
VS

[Dry Brett Kavanaugh]

Prokofiev Cinderella Suite. Stokowski.

[Mandryka]

I have been meaning to explore more Britten, and now seemed a good time to do it.

I usually think of Barber and Vaughan Williams when it comes to the 20th-Century English-language art song, but after my recent listening, I think Britten needs to be there too.
VS

You've just made me think of one of my favourite recordings

[André]

Stravinsky


 

Personally I prefer Karajan's later BP version (one of the most exciting imo) but this one doesn't deserve the frown and even contempt often heard from reviewers. It's a valid conception and it's supremely well executed.

Coincidentally, I'm currently listening to this version of Le Sacre du printemps. Part 2 just started.



My first ever Sacre and imo still one of the best. The percussion in particular is spectacularly well played and recorded.

[Linz]

Jean-Philippe Rameau Nouvelles Suites de Pièces de Clavecin CD 3
Pieter-Jan Belder

[André]

I derived mild enjoyment form Cantata. Mass left me indifferent. I love sacred music precisely because of what it conveys, but this didn't strike any chord at all. As for Noces, I've rarely encountered a piece of music that irritated me so much.

[brewski]

Rimsky-Korsakov: Capriccio espagnol (Orquesta Sinfónica de Galicia / Roberto González-Monjas, recorded August 19, 2023 in la Plaza de María Pita de A Coruña)

A treat during what looks like a casual, end-of-summer concert for a large and appreciative outdoor audience. Excellent orchestra, new to me, which is up to the task of bringing Rimsky-Korsakov's colors to life.

[André]

I've listened to this recording a few times lately and must say I've reassessed my initial opinion - slightly downward. While I absolutely love the transparency of textures and perfect tempi, the vocal contributions disappoint somewhat.

The vocal soloists emit sounds that are so instrumental in quality that they tend to lose verbal acuity and meaning.

Savall starts the Kyrie, Gloria and Credo with an anticlimactic mf - and then proceeds to up dynamics and adopt sharper accents to good effect - but why that desultory opening phrase ?

Ormandy's performance opts for exactly the opposite approach: big, bold, generous in tone and intent - just like Bernstein, but with more close-up sound. It's not a matter of tempi: Savall and Ormandy's overall timings are within 10 seconds of each other. Ormandy is emotional and effusive, Savall is reserved, reverential and unwilling to let emotions break through.

Curiously, both boast an extremely enthusiastic timpani principal. I don'y think I've heard this specific instrumental part of the Missa played with such verve.

[brewski]

Tchaikovsky: "Dance of the Tumblers" from The Snow Maiden (Kristjan Järvi / MDR Leipzig Radio Symphony Orchestra). While searching for Rimsky-Korsakov's version, stumbled across this one. Hugely entertaining.

[brewski]

Tchaikovsky: Capriccio Italien (Semyon Bychkov / WDR Symphonieorchester, live recording from 2002). Grew up with the Dorati/Minneapolis recording, and it will do just fine, but so will this one.