What are you listening 2 now?

[Symphonic Addict]

Dello Joio: Variations, Chaconne and Finale, for orchestra

Dello Joio wrote some outstanding, approachable, tonal music, yet he's barely regarded as a good composer. This orchestral tryptich is wondrous and rather uplifting in spirit, even I was reminded of Hanson in spots.

[Que]

The French love to include declamations of historical texts, poetry in their music recordings.The theme of this disc is Martin le Franc poetic work Les Champion des Dames ("poem" seems underselling its 24.000 verses..). 7 readings are included, in Old French naturally. I would be able to follow and enjoy the texts if I am able to read along. But in my experience the added interest of these things wears off quickly, which then leaves a waste of space & time. And 13 actual songs by Dufay and Gilles Binchois in absolutely wonderful performances. 
But... and I am going to sound like a broken record now... LESS distractions and MORE songs would have been even better...

[Que]

"Too slow, chicken marengo!" says the Cat in one of my favorite episodes of Red Dwarf.  While I could say the same of de Leeuw's playing sometimes, over the years I have warmed considerably to his slower tempos and that of other pianists, too. Excepting of course for much of Satie's cabaret material. After studying this a while now, I'm persuaded that Satie himself would be shocked to hear how fast his work is often performed. The meditative states he induces support slower speeds and certainly the number of lent, très lent indications along with the more playful ones like lent et douloureux, and arguably the most famous one:  il sera bon de se préparer au préalable, et dans le plus grand silence, par des immobilités sérieuses appear to support a slower pace for his work. I have most but not all of de Leeuw's recordings.

Wow!    This is a blast from the past. I haven't seen those recordings for a long time. When I was in university in the '90s making an extra buck working in a large music store in Amsterdam, that Satie series by Reinbert de Leeuw was immensely popular and bought in large numbers.

[Mandryka]

The French love to include declamations of historical texts, poetry in their music recordings.The theme of this disc is Martin le Franc poetic work Les Champion des Dames ("poem" seems underselling its 24.000 verses..). 7 readings are included, in Old French naturally. I would be able to follow and enjoy the texts if I am able to read along. But in my experience the added interest of these things wears off quickly, which then leaves a waste of space & time. And 13 actual songs by Dufay and Gilles Binchois in absolutely wonderful performances. 
But... and I am going to sound like a broken record now... LESS distractions and MORE songs would have been even better...

Please please indulge me. Listen to Tonus Peregrinus's recording of Adam de la Halle's Jeu de Robin et de Marion and tell me what you think of the texts. It's very iconoclastic and bold, especially if you can understand the implications of the English accents for social class.

[Iota]

I personally like Igor Zhukov, Elena Kuschnerova, and Valery Kastelsky.

Thanks for the recommendation!

"Too slow, chicken marengo!" says the Cat in one of my favorite episodes of Red Dwarf.  While I could say the same of de Leeuw's playing sometimes, over the years I have warmed considerably to his slower tempos and that of other pianists, too. Excepting of course for much of Satie's cabaret material. After studying this a while now, I'm persuaded that Satie himself would be shocked to hear how fast his work is often performed. The meditative states he induces support slower speeds and certainly the number of lent, très lent indications along with the more playful ones like lent et douloureux, and arguably the most famous one:  il sera bon de se préparer au préalable, et dans le plus grand silence, par des immobilités sérieuses appear to support a slower pace for his work. I have most but not all of de Leeuw's recordings.

My relationship with Satie's music has always been somewhat tenuous, and I have a feeling it may stay that way. But due to a lack of enthusiasm I've not really explored much and I am sure there are more fruits there yet to discover, and so it may still open up for me. De Leuww is the one pianist who made the music really absorbing for me when I listened him a few years back.

Here:



The WTC II sounding absolutely splendid, a lovely fruity sounding harpsichord and Frisch' playing living up to her name. Very much enjoyed.

[Mister Sharpe]

Like his Christmas album, Legrand's Satie CD is, at 54 minutes, shall we say, chiche. Still, it's a most sensitive and enjoyable program and the engineering is, shall we also say, superbe.

[Madiel]

R. Strauss: Salome on OperaVision.

I'd rate this as one of the best productions I've watched on OperaVision thus far. Partly that's the opera itself, which I've seen once before back in 2011 and which I think holds together very well for such a long one-act work. But there's a lot of good acting in this production.

There's one bit that felt a bit over the top grotesque (although if there's any opera where being over the top works, it would be this one), but there were a large number of moments where I was impressed that characters were doing things that made sense, not merely standing around while they waited for their turn to sing. And the parts where they arguably toyed with the script a little still made sense.

It actually reminded me ever so slightly of the production of Shostakovich's Lady Macbeth that I watched a couple of months back, primarily because of people wearing naked/fat suits again. But that irritated me. To my mind this was far more satisfying.

It's available until 7th of August. Worth checking out in my opinion.

[Dry Brett Kavanaugh]

Dello Joio: Variations, Chaconne and Finale, for orchestra

Dello Joio wrote some outstanding, approachable, tonal music, yet he's barely regarded as a good composer. This orchestral tryptich is wondrous and rather uplifting in spirit, even I was reminded of Hanson in spots.

The entire album is wonderful!

[Dry Brett Kavanaugh]

Hindemith harp sonatas, etc..  Kateřina Englichová.

[DavidW]

[SonicMan46]

Well, finally purchased some Beauty Farm double-disc offerings - JPC had the two below at 40% off - others available at their website.  Dave

 

[Spotted Horses]

Wellesz, Symphonies



I have been revisiting these, in reverse order. After 9, listened to 8, 7, 6. I found them attractive, but in a detached sort of way. They are generally thorny works. When I got to 5 I found myself truly engaged. Based on this and my listening to the piano concerto it seems like I am more attracted to Wellesz' earlier works. The outer movements are compelling, but I think part that made the biggest impression was the third movement, Adagio Molto, which begins with light chamber music like voicing, and ends with a climactic passage for full orchestra.

Another listen to Wellesz' remarkable 5th symphony. I dug up the notes and read that it is a strict 12 tone work. I breathtaking spectrum of moods and orchestral colors.

[Brian]

This morning, Bernstein's Serenade (with the composer and Francescatti) and David Maslanka's Wind Quintets!

Dello Joio: Variations, Chaconne and Finale, for orchestra

Dello Joio wrote some outstanding, approachable, tonal music, yet he's barely regarded as a good composer. This orchestral tryptich is wondrous and rather uplifting in spirit, even I was reminded of Hanson in spots.

Quoting as a reminder to myself to stream it this week!

[Harry]

Romanus Weichlein (1652–1706)
*Encaenia Musices*, Op.1, Sonatas Nos.1–12
Ars Antiqua Austria, Gunar Letzbor.
Recorded 2008, Monte Magno, Pisa, Italy.

Sometimes a recording comes along that makes one pause in quiet awe—and this is most certainly one of those rare moments. To begin praising this release almost feels futile, because where does one even begin when every element is so exquisitely realized? Yet I must try, because it would feel unjust to keep silent.
From the very first bars, the sound quality declares itself as something exceptional—state of the art, certainly, but with an added dimension. The backdrop is velvet black, from which every note emerges with crystalline clarity. The tiniest nuance, the most ethereal \pppp\, is not only audible but emotionally gripping. There is a tactile presence to this sound, as though the performers are breathing just meters away.
The trumpet duets—an integral and radiant aspect of this work—are performed with such technical perfection and expressive finesse that they defy easy description. Intonation, phrasing, articulation—everything sits in balance, and I could not detect the slightest flaw even when listening with the closest of attention.
The *Encaenia Musices* itself is a remarkable achievement by **Romanus Weichlein**, a Benedictine monk and composer of the Austrian Baroque, whose music often reflects the grandeur and ceremony of the Habsburg tradition. Published in 1695 in Innsbruck, this Opus 1 consists of 12 sonatas for varying instrumental combinations, many involving pairs of trumpets—a rarity at the time. The collection was likely intended for festive liturgical occasions, and it unites the spiritual solemnity of the Church with the vivid brilliance of courtly display.
Yet this is not bombast—it is complexity and grace walking hand in hand. Weichlein's writing is sophisticated, layered with harmonic invention and rhythmic verve, and this performance by **Ars Antiqua Austria**, under the ever-attentive direction of **Gunar Letzbor**, elevates it to a level where every gesture feels inevitable and inspired.
Special mention must be made of the engineering team, **Sigrid Lee** and **Roberto Meo**, who have managed to capture not just the music, but the very space in which it breathes. I have heard this collection before, but never like this. Everything aligns: performance, sound, repertoire, and spirit.

In short, a reference recording—unquestionably.

[VonStupp]

FJ Haydn
Symphony 79 in F Major
Symphony 80 in D minor
Symphony 81 in G Major
Austro-Hungarian HO - Ádám Fischer

VS

[Lisztianwagner]

British Composers
Guide to Britain



Too long to list all the works, here they are:

https://www.prestomusic.com/classical/products/7998605--the-british-composers-guide-to-britain?srsltid=AfmBOoocgIz7VdN1KVZVFshu-HmFffrGePLxzPzykfK2frbl1hddx0vH

[Iota]

Scriabin Preludes, Op.11
Igor Zhukov (piano)

Hat-tip to @Dry Brett Kavanaugh for the recommendation. Zhukov plays with great poetry, poise and where appropriate, muscularity, and I much enjoyed his way with the Preludes. Shame he only plays a selection of them (on streaming at least), but a small quibble in the face of the pleasure the existing ones give.

[Karl Henning]

[Karl Henning]

[Karl Henning]