What are you listening 2 now?

[brewski]

Bruckner: Symphony No. 8 (Christoph von Dohnányi / NDR Elbphilharmonie Orchester, live recording from the Elbphilharmonie Hamburg, 28 September 2018). Wow, magnificent.

[Linz]

Jean Sibelius Symphony  No. 4 in A miner. Op. 63
Symphony No. 5 in E flat major. Op. 82
Japan Philharmonic, Pietari Inkinen

[Wanderer]

[Que]

[AnotherSpin]

Over the past few days, I have been listening to various interpretations of Ludus Tonalis. Six or seven versions so far, and with each one, the work grows ever more elusive. It is a curious, almost slippery collection, offering readings that range from a firm anchoring in the fugues to a subtle weaving of emotional bridges between them. The more approaches there are, the further one seems to drift from any notion of an ideal. It is difficult, perhaps even impossible, to say which approach is the more 'correct', if such a thing can be said at all. For now, the ground shifts beneath my feet, and I can find no sure foothold.

[Florestan]

Not as aggressive as other modern performances, keeping a fine balance between drama and lyricism, the melodical contour never blurred. Good stuff. @DavidW & @Que : give them a try!

[ritter]

Fisrt listen to Othmar Schoeck's dramatic cantata (to a text in Low German by Philipp Otto Runge, derived from the Grimm Brothers) Vom Fischer un syner Fru, op. 43. Mario Venzago conducts vocal soloists and the Musikkollegium Winterthur.

[Harry]

British music for Strings-Volume I.
Hubert Parry · Edward Elgar · Gordon Jacob.
Südwestdeutsches Kammerorchester Pforzheim · Douglas Bostock.

It's certainly a nice program and adequately performed. I could wish for a better sound, for it is a bit thick on the ground, and a tad too much sentimentality in the musical mix. Somehow the performing style of Neville Marriner came to mind but then in a better recording. By and by I think this orchestra is too big for the music, the details are swamped in the process.

[AnotherSpin]

Sven-Ingvart Mikkelsen's Stairway to Bach is a decidedly quirky, at times psychedelic, venture that reimagines classic rock through the majestic voice of the Baroque organ. The album takes on some of rock's iconic anthems, but rather than simply transplanting them to the pipes, Mikkelsen clothes them in contrapuntal textures and harmonic inflections in the spirit of J.S.Bach. The result is far from a gimmick: these treatments uncover how deeply Bach's influence runs through the fabric of 1960s and 70s rock. By setting Bach's own music alongside these reinventions, Mikkelsen fashions a dialogue across centuries, slightly mad perhaps, but wonderfully fresh. Songs that have long since felt overplayed are suddenly rendered fragile, solemn, and surprisingly well-suited to the grandeur of the organ. The balance between reverence and playfulness is finely judged, and Mikkelsen's steady, unhurried touch gives equal space to both Bach and Procol Harum.

P.S.: I couldn't help but smile at the inclusion of both Stairway to Heaven and Bohemian Rhapsody, as I have long suspected that Queen's piece is, among other things, a witty and ironic parody of LZ's celebrated number.

[prémont]

Over the past few days, I have been listening to various interpretations of Ludus Tonalis. Six or seven versions so far, and with each one, the work grows ever more elusive. It is a curious, almost slippery collection, offering readings that range from a firm anchoring in the fugues to a subtle weaving of emotional bridges between them. The more approaches there are, the further one seems to drift from any notion of an ideal. It is difficult, perhaps even impossible, to say which approach is the more 'correct', if such a thing can be said at all. For now, the ground shifts beneath my feet, and I can find no sure foothold.

This is the situation of much of the music one encounters in multiple recordings. To me it's in the end of the day my taste which guides me. Concerning Ludus Tonalis most of the recordings, I have heard, were worthwile IMO.

[Todd]

[Harry]

Bohemia
Chamber Music.
Vítězslav Novák (1870-1949)-Zdeněk Fibich (1850-1900)-Bedřich Smetana (1824-1884).
Trio Helios.

To me an ensemble I encounter for the first time, and I feel this is going to be a good friendship.
Excellent choice of composers, a performance that shows their talents, and a recording that gets the balance right. The compositions by Novak and Fibich I do not hear on a regular basis, so it's delight to hear them together with Smetana, a combination that instigated the title "Bohemia".This is the first CD I have on my to play list, another one waiting "D'un matin de printemps". I am also looking forward hearing that one too.

[hopefullytrusting]

Okay, I woke up, and not listening to my 4 22s just feels wrong, so here are my four for today (but only 4, for today, lol):

Valentina Lisitsa: https://www.youtube.com/watch?v=5sg37Q0HS1s and https://www.youtube.com/watch?v=V_1S_qYxtao
Anne Marie Kuhny: https://www.youtube.com/watch?v=6bckHIjrbOc
Maryna Kysla Williams: https://www.youtube.com/watch?v=mHvlnzpN4vk
Daniel Lebhardt: https://www.youtube.com/watch?v=inPNAG0ONDQ

[hopefullytrusting]

Ah, it is like taking a fresh breath of air, it is like a weight has been lifted off my chest - forward and onward!

Tier 1 (will relisten and possibly purchase depending on the relisten)
Brautigam, Kobrin,
Tier 1.5
Del Pueyo, Schepkin, Schoenhals
Tier 2
Ott, Sasko, Edwards, Maia-Maria, Bradley-Fulgoni, Gentet
Tier 2.5
Irfan
Tier 3
Williams, Kolesova, Xu, He, Solomon, Wehr, Andsnes, Buchbinder, Namoradze, Lebhardt, Cecino, Ishii, Murai, Mogilevsky, Petersen, Walker, Hong, Brown, Sango, Kviatek, Villar, Frolova, Czech
Tier 4
Listisa, Wambolt Maciejowski,
Tier 4.5
Kuhny, Muller
Tier 5
Jank (Bad transfer), Sanna (Insanity), Sang-moon (Disqualified)

[Harry]

Division: John Jenkins.
The Virtuoso Consort,
Fretwork
Emilia Benjamin, Emily Ashton, Joanna Levine, Sam Stadlen & Richard Boothby.
Silas Wollston, Organ. Chamber organ by Robin Jennings (2003) after an English 17th-century original, probably by Smith.

A brand-new release on the Signum label from Fretwork, and it's good and all properly done. Jenkins music is virtuosic, ingeniously put together, and a vessel of many captivating melodies and harmonies. There is balance between the instrumentalists, balance in presentation, and above all, it's done in the service of John Jenkins compositions, and nothing else, just pure and simple.

[AnotherSpin]

This is the situation of much of the music one encounters in multiple recordings. To me it's in the end of the day my taste which guides me. Concerning Ludus Tonalis most of the recordings, I have heard, were worthwile IMO.

There is no denying that, I agree.

But I mean something slightly different. The more I listen to different versions of Ludus Tonalis, the harder it becomes to form a coherent sense of the cycle beyond the interpretations.

Perhaps S. Richter's rendition is chiefly responsible for this. As often with him, it is at once remarkable and somewhat flawed. His talent here is extraordinary, yet it coexists with a striking misunderstanding of the music, imo. Whether due to his stubbornness or his inability to fully grasp Hindemith, the fugues come across as weak and spineless, while some of the interludes strike with astonishing depth.

The easiest thing would be to forget Richter's version and not compare it with others. Yet it is, despite its flaws, too remarkable to dismiss. Ironically, I have the impression that the most striking interpretation may also be the furthest from Hindemith. It is a pity that more outstanding pianists have not recorded Ludus Tonalis. Among the rest, I find Hans Petermandl's versions the most satisfying. Mustonen and Janssen, from whom I had higher expectations, were less impressive. Laretei and Katsnelson play everything accurately, but their strict adherence is less persuasive than Richter's bold deviations.

For now, I will leave it at that; perhaps with time, my impressions will settle and become clearer.

[kyjo]

Finzi: Cello Concerto

Sounds very well played, but the cello wasn't captured prominently, something that didn't happen with the orchestra. Anyway, the middle movement has to be one of the most achingly soulful slow movements I know.

Absolutely, I can't help but be moved to tears by that criminally beautiful slow movement. And the wonderfully infectious and life-affirming finale completes the wonderful emotional trajectory of a concerto which begins with such a stormy and passionate first movement. The affirmative spirit of the finale is all the more remarkable and moving considering the composer was on his deathbed when he wrote it. I had the great (and stressful!) opportunity of performing this very demanding concerto with piano accompaniment a little over a year ago. It is my favorite cello concerto of all time, and I don't see that changing anytime soon!

Regarding the Naxos recording, I agree that the sound quality isn't quite ideal. Hugh is a fine cellist, but I prefer a more articulate and energetic approach in the finale than he gives. My version of choice is the more recent Paul Watkins/BBCSO/Andrew Davis recording on Chandos. The iconic Lyrita recording featuring a young Yo-Yo Ma is admirably passionate if not always ideally technically secure. It has the benefit of some really involved orchestral contributions from the RPO under Vernon Handley. The Wallfisch recording on Chandos can be safely avoided.

[Mister Sharpe]

The standout for me on this disc is Ibert's "Paris" Suite symphonique (a CD-premiere), with its inventive, onomatopoeic pictures of a train, a steamship and parade.  Reminds me not a little of the impact Les escales had on me as a young lad - wow, I thought, classical music can take you places... Some, though not all, of the other works herein are bested, performance- and/or engineering-wise by other recordings. "Masterpieces," boasts the booklet, which seems like hyperbole; "gems" says conductor Steven Richman, founder of the Harmonie Ensemble - and that seems a more apt description.

[hopefullytrusting]

Oh man, I feel a money sink approaching: Barefoot Records

MEUF Vol. 1



Now, this is contemporary music - music that almost feels like it is from the future.

[Spotted Horses]

Hindemith, Sonata for clarinet piano, and for horn and piano.





I've been listening to various wind sonatas is the Brilliant Classics collection, but these are a cut above.

The Clarinet sonata is a true gem, and Meyer's (with Le Sage) performance is perfection. The Horn sonata is another miracle and the horn tone in the cpo recording is exquisite!