What are you listening 2 now?

[Karl Henning]

I was thinking rather about his statement that he could compose a tea-spoon. 

Doesn't mean it would be great music 😉

[Mister Sharpe]

I was thinking rather about his statement that he could compose a tea-spoon. 

I completely forgot that bit of braggadocio; but Strauss did put his money where his mouth was, for example, with his Symphonia domestica with its focus on daily life, running counter to what would have been viewed as suitable subject matter for a symphony. 

[Symphonic Addict]

Schubert: Piano Sonatas 16 and 17

Thoroughly marvellous. This is piano writing of utmost sublimity. The first two movements of the 16th represent Schubert at the peak of his art, absolutely brilliant, which algo goes for the rest of these sonatas (the 17th sounds rather jovial compared with the 16th), but those specific movements left me especially astounded.

[Madiel]

Schubert: Piano Sonatas 16 and 17

Thoroughly marvellous. This is piano writing of utmost sublimity. The first two movements of the 16th represent Schubert at the peak of his art, absolutely brilliant, which algo goes for the rest of these sonatas (the 17th sounds rather jovial compared with the 16th), but those specific movements left me especially astounded.

The sheer variety of numbering systems for Schubert piano sonatas makes it difficult to know what is astounding you.

D. numbers. Keys. These would be helpful (and on previous posts the same difficulty).

[Symphonic Addict]

The sheer variety of numbering systems for Schubert piano sonatas makes it difficult to know what is astounding you.

D. numbers. Keys. These would be helpful (and on previous posts the same difficulty).

The numbering may be confusing indeed. Here is how I have them:

No. 13, D. 664
No. 14, D. 784
No. 15, D. 840 'Reliquie'
No. 16, D. 845
No. 17, D. 850 'Gasteiner'
No. 18, D. 894
No. 19, D. 958
No. 20, D. 959
No. 21, D. 960

From No. 13 onwards the numbering is more standardized. The main problem lies with Nos. 1-12 the most.

[Symphonic Addict]

Bliss: Piano Concerto and Concerto for two pianos and orchestra

The Piano Concerto just hits me in my epic tastes: imposing, memorable, eloquent when needed. There are no many British piano concertos in a similar vein, perhaps those by Alwyn fit the bill. The Concerto for two pianos and orchestra has some very cool touches of Stravinsky, but this is a little more, say, sentimental. The Piano Sonata has strong ideas as well, but I didn't listen to it today. One of my favorite Bliss CDs.

[JBS]

Vivaldi: La Senna Festeggiante



Perfectly good music, and no complaints at all about the performance - Alessandrini and Concerto Italiano are amongst the most dependable performers in this series. But the text of La Senna Festeggiante is extremely old-fashioned. Two characters called "The Golden Age" and "Virtue" have a love-in with the River Seine, in a sycophantic celebration of King Louis XV of France.

It's definitely what you would call an occasional piece, and the relevant occasion has long since passed!

I just listened to this, commissioned by the same man to celebrate Louis's marriage. Vivaldi composed a third serenata for him, but that one is lost.
There are two soloists, a soprana and a male alto.



Some of the music was previously used in some of Vivaldi's operas, while other music from the score was re-used in other operas.  The booklet specifies which music appears in which opera.  Total length is about 55 minutes. The original opening sinfonia is lost, so it's replaced here by the Concerto for Strings in F major RV 138. The title page of the score is also lost, so we don't know the title Vivaldi used for this serenata.

The man who commissioned these works was the French Ambassador to Venice, Count Jacques-Vincent Languet de Gergy.  He's the guy being welcomed in this painting by Canaletto.

[Madiel]

The numbering may be confusing indeed. Here is how I have them:

No. 13, D. 664
No. 14, D. 784
No. 15, D. 840 'Reliquie'
No. 16, D. 845
No. 17, D. 850 'Gasteiner'
No. 18, D. 894
No. 19, D. 958
No. 20, D. 959
No. 21, D. 960

From No. 13 onwards the numbering is more standardized. The main problem lies with Nos. 1-12 the most.

Thanks. Not all systems actually get up to 21, so one question in my mind was just how far along you were.

[Madiel]

I just listened to this, commissioned by the same man to celebrate Louis's marriage. Vivaldi composed a third serenata for him, but that one is lost.
There are two soloists, a soprana and a male alto.



Some of the music was previously used in some of Vivaldi's operas, while other music from the score was re-used in other operas.  The booklet specifies which music appears in which opera.  Total length is about 55 minutes. The original opening sinfonia is lost, so it's replaced here by the Concerto for Strings in F major RV 138. The title page of the score is also lost, so we don't know the title Vivaldi used for this serenata.

The man who commissioned these works was the French Ambassador to Venice, Count Jacques-Vincent Languet de Gergy.  He's the guy being welcomed in this painting by Canaletto.

Yes, it struck me as a little odd that it's taken until really recently for the 2 remaining serenatas to be recorded, when La Senna was so early on in the series.

I haven't listened to the Serenata a Tre yet. And I haven't bought this brand new one yet. I didn't realise the latter actually came from the same commission.

[Roasted Swan]

Bliss: Piano Concerto and Concerto for two pianos and orchestra

The Piano Concerto just hits me in my epic tastes: imposing, memorable, eloquent when needed. There are no many British piano concertos in a similar vein, perhaps those by Alwyn fit the bill. The Concerto for two pianos and orchestra has some very cool touches of Stravinsky, but this is a little more, say, sentimental. The Piano Sonata has strong ideas as well, but I didn't listen to it today. One of my favorite Bliss CDs.

Agree completely - and Donohoe is just the right type of player for the job.  A genuinely fine disc!

[Harry]

Roland de Lassus.
Biographie musicale vol. III.
La gloire musicale de la Bavière (2) – Le temps des conflits.
Egidius Kwartet & College.

The third volume in this series. It is a firm way of singing, and I would have liked a bit more subtlety in phrasing the words, and a bit more attention to volume and how to apply this. A certain rawness in their interpretation irks me, but then again that's their performing style, and I encountered this more or less in all their recordings, so its a personal thing with me. The works by Lassus are superb projected, I like them a lot, and it's a valuable addition to this series. The sound is direct and revealing, but clear. Some of the sopranos add artificial vibrato, that is disturbing. But let it be clear I appreciate all the good things that I hear and they far outweigh the less appealing things.

[Harry]

Italian Recorder Music.
Amsterdam Loeki Stardust Quartet.


Recorded no less in the Abbey Road Studios, London, in the month of November 1989, which is quite a long time ago, but the sound is as good as it would be these days. Clear, free from top frequencies glare on any of the recorders, soft as silk, gentle and not abrasive, in other words the sound is top notch. Now I never liked recorder music but my present set up makes it sound so well that I am finally able to explore more of it. So recommendations are more than welcome. The choice of composers on this disc is a walk through adventure, and the sheer variety makes this disc an excellent introduction to the world of recorder music. One can say that this is SOTA sound.

[Que]

Italian Recorder Music.
Amsterdam Loeki Stardust Quartet.



Recorded no less in the Abbey Road Studios, London, in the month of November 1989, which is quite a long time ago, but the sound is as good as it would be these days. Clear, free from top frequencies glare on any of the recorders, soft as silk, gentle and not abrasive, in other words the sound is top notch. Now I never liked recorder music but my present set up makes it sound so well that I am finally able to explore more of it. So recommendations are more than welcome. The choice of composers on this disc is a walk through adventure, and the sheer variety makes this disc an excellent introduction to the world of recorder music. One can say that this is SOTA sound.

One of my favourites! 

[Harry]

Echoes of Exile.
Music for solo Violin.
Sueye Park (Violin)

It is the first time I heard music performed by Sueye Park, but I can tell right now, she is a musical and technical marvel on the Violin, and served with a reference SOTA recording. BIS have excelled themselves again with flying colours. It is a pleasure to hear her Giovanni Battista Guadagnini, Milan 1753, 'ex Hamma', for it has a firm but silky tone without sharp edges even if it goes upwards as far as the violin can. Her tone is fluid like crystal clear water, and her bowing is straightforward capturing all the tiny details, and harvest them very efficient. An impressive interpretation of all the works on this disc, it will take some beating before you find a better recording/interpretation.
 

[Madiel]

Beethoven piano trio in G, Op.1/2



I really need to remember how fun that finale is.

[Que]

Another run, since listening yesterday was interrupted.

[Que]

Roland de Lassus.
Biographie musicale vol. III.
La gloire musicale de la Bavière (2) – Le temps des conflits.
Egidius Kwartet & College.

The third volume in this series. It is a firm way of singing, and I would have liked a bit more subtlety in phrasing the words, and a bit more attention to volume and how to apply this. A certain rawness in their interpretation irks me, but then again that's their performing style, and I encountered this more or less in all their recordings, so its a personal thing with me. The works by Lassus are superb projected, I like them a lot, and it's a valuable addition to this series. The sound is direct and revealing, but clear. Some of the sopranos add artificial vibrato, that is disturbing. But let it be clear I appreciate all the good things that I hear and they far outweigh the less appealing things.

Since each volume is done by another ensemble, but each a front runner in the field, it is very interesting to hear the differences in approach.

Volume I: Ludus Modalis (French)
Volume II: Singer Pur (German)
Volume III: Egidius (Dutch)
Volume IV: Odhecaton (Italian)
Volume V: Vox Luminis (Belgian)

[Traverso]

Mozart

CD 3

 The last of three wonderful SACDs, I'll stick with Mozart for a while longer in the coming period

[Harry]

DMITRI SHOSTAKOVICH (1906–1975)
Chamber Music for Viola and Piano.
LAWRENCE POWER Viola.
SIMON CRAWFORD-PHILLIPS, Piano.

The main attraction of this disc is of course the Sonata for Viola and Piano, written shortly before his death. It is a sum up of his life and his career as a composer, all condensed in this Sonata. Impressive and disturbing at the same time. It is not an easy piece to stomach but essential to hear and digest. It goes deep and is drenched in disturbing emotions. But I connected instantly with it, the jacket just fitted me to a T I guess. The seven Preludes, and five pieces from the Gadfly are a release from the melancholy impact the Sonata has, it lightens up the atmosphere. Two musicians in accord with each other, a dream team so to say. Excellent sound, well captured from the Concert Hall, Wyastone Estate, Monmouth.

[Harry]

Since each volume is done by another ensemble, but each a front runner in the field, it is very interesting to hear the differences in approach.

Volume I: Ludus Modalis (French)
Volume II: Singer Pur (German)
Volume III: Egidius (Dutch)
Volume IV: Odhecaton (Italian)
Volume V: Vox Luminis (Belgian)

Very true Que, that is one of the main attractions of this series.