What are you listening 2 now?

[Linz]

Dmitri Shostakovich Symphony No. 5 in D Minor, Op. 47
Leningrad Philharmonic Orchestra, Evgeny Mravinsky

[Daverz]

What the heck...singing in English 

Some performance practices have aged worse than others, I suppose!

I think that may be the best recording of the Balakirev, and it sounds excellent in this new mastering.

[Linz]

Anton Bruckner Symphony No. 2 in C Minor, 1872/77 Mixed Versions. Ed. Robert Haas
Berliner Rundfunk Sinfonie Orchester, Franz Konwitschny

[Brian]

I think that may be the best recording of the Balakirev, and it sounds excellent in this new mastering.

I'm playing the symphony first thing tomorrow!

[JBS]

Repeat of this CD


Track Listings
1   Cara Bali Concerto: I. Vivace
2   Cara Bali Concerto: II. Vivace
3   Mare Marginis
4   Luz de Lejos: I. Preludio
5   Luz de Lejos: II. Toccata I
6   Luz de Lejos: III. Anunciación - Juego
7   Luz de Lejos: IV. Canción de Amor
8   Luz de Lejos: V. Toccata II
9   Luz de Lejos: VI. Luz de Lejos

[Karl Henning]

Yan Pascal Tortelier conducts the BBC Philharmonic in Hindemith's Symphonia Serena and the Symphony "Die Harmonie der Welt".

Some days, the Symphonia serena is my favorite Hindemith score!
TD:

[Symphonic Addict]

Sallinen: Flute Concerto 'Harlekiini' and Violin Concerto

Sallinen's style is hard to describe and at the same time so fascinating and unique. These two concertos show the multifaceted aspect of his idiom.

[Symphonic Addict]

Lambert: 8 Poems of Li-Po and Mr Bear Squash-You-All-Flat

The ballet for speaker and instruments Mr Bear Squash-You-All-Flat is good fun, even despite the narration part. It reminded me of Stravinsky and Martinu.

[AnotherSpin]

Bach and Whitman go well together, hand in hand:

There is that in me .... I do not know what it is .... but I know it is in me.

Wrenched and sweaty .... calm and cool then my body becomes;
I sleep .... I sleep long.

I do not know it .... it is without name .... it is a word unsaid,
It is not in any dictionary or utterance or symbol.

Something it swings on more than the earth I swing on,
To it the creation is the friend whose embracing awakes me.

Perhaps I might tell more .... Outlines! I plead for my brothers and sisters.

Do you see O my brothers and sisters?
It is not chaos or death .... it is form and union and plan .... it is eternal life .... it is happiness.

[Harry]

Bach and Whitman go well together, hand in hand:

There is that in me .... I do not know what it is .... but I know it is in me.

Wrenched and sweaty .... calm and cool then my body becomes;
I sleep .... I sleep long.

I do not know it .... it is without name .... it is a word unsaid,
It is not in any dictionary or utterance or symbol.

Something it swings on more than the earth I swing on,
To it the creation is the friend whose embracing awakes me.

Perhaps I might tell more .... Outlines! I plead for my brothers and sisters.

Do you see O my brothers and sisters?
It is not chaos or death .... it is form and union and plan .... it is eternal life .... it is happiness.

Somehow that fits.....

[Que]

Another early Italian organ master that deserves our attention is IMO Giovanni Maria Trabaci.
The main choice for recordings seems to be between the two Francesco's: Francesco Cera and Francesco Tasini.



This morning I picked the former. Very nice (anonymous) Italian organ from 1570.

[71 dB]

Locatelli - Concerti Grossi Op. 1, Nos. 1-6
Capella Istropolitana
Jaroslav Kreček
Naxos 8.553445

[AnotherSpin]

Another early Italian organ master that deserves our attention is IMO Giovanni Maria Trabaci.
The main choice for recordings seems to be between the two Francesco's: Francesco Cera and Francesco Tasini.



This morning I picked the former. Very nice (anonymous) Italian organ from 1570.

Thanks for the recommendation. I just paused for a moment, not sure what to listen to after a long walk through the hot, empty village streets. This recording seems like a good selection. About your choice of Trabaci's music performance between the two Francescos, aren't you interested in Vartolo's recording too?

[Selig]

aren't you interested in Vartolo's recording too?

Don't get him started!

Michèle Devérité on the other hand?

[Que]

Thanks for the recommendation. I just paused for a moment, not sure what to listen to after a long walk through the hot, empty village streets. This recording seems like a good selection. About your choice of Trabaci's music performance between the two Francescos, aren't you interested in Vartolo's recording too?

The thing is, but this is no secret for the veterans here, I am not a Vartolo fan...

Don't get him started!

 

Michèle Devérité on the other hand?

I much like her harpsichord music recording, but found the organ recording a bit disappointing in comparison.

[AnotherSpin]

Don't get him started!

Michèle Devérité on the other hand?

I don't mind at all...  

Since I'm new to early music, hearing people's comparisons and preferences really helps me understand it better.

[AnotherSpin]

The thing is, but this is no secret for the veterans here, I am not a Vartolo fan...

If you don't mind, could you explain it for a beginner? The veterans can just look away for a bit.

[Que]

If you don't mind, could you explain it for a beginner? The veterans can just look away for a bit.

Well, in my own words, his approach is generally very slow - sometimes to breaking point, with lots of very long hesitations that outstay their welcome, breaking up the music. I don't like his approach to rhythm and (his disregard of) the overall structure of the music, I don't like his ornamentations. A "broken style" is a phrase I've seen here.

Many will argue this will deepen our experience of the music and provide introspection. But that is not the musical experience I'm looking for. His conducting style is very similar BTW.

I found a quote by Jed Distler on Vartolo's Art of the Fuge, discussed elsewhere on these pages, that fits my sentiment:

"Sergio Vartolo's frequent phrase distentions, tenutos, breath pauses, hiccups, and sundry agogic conceits that serve little structural or expressive purpose."

https://www.classicstoday.com/review/review-15020/

[Harry]

Well, in my own words, his approach is generally slow - sometimes to breaking point, with lots of very long hesitations that outstay their welcome, breaking up the music. I don't like his approach to rhythm and (his disregard of) the overall structure of the music, I don't like his ornamentations. A "broken style" is a phrase I've seen here.

Many will argue this will deepen our experience of the music and provide introspection. But that is not the musical experience I'm looking for. His conducting style is very similar BTW.

I found a quote by Jed Distler on Vartolo's Art of the Fuge, discussed elsewhere on these pages, that fits my sentiment:

"Sergio Vartolo's frequent phrase distentions, tenutos, breath pauses, hiccups, and sundry agogic conceits that serve little structural or expressive purpose."

https://www.classicstoday.com/review/review-15020/

Agreed!

[prémont]

Don't get him started!

Michèle Devérité on the other hand?

Like Devérité, Lydia Maria Blank has also made a most worthwhile Trabaci CD.