What are you listening 2 now?

[hopefullytrusting]

Starting out my morning, 7:53 AM, with Gloriana Wolf playing Prokofiev's Piano Sonata No. 4: https://www.youtube.com/watch?v=DpG53mjm47U

And now we have returned back to the model of sonata 2, but this one is even more subdued but somehow less melodic - out of the four sonatas I've heard so far - this is the weakest. This feels like Prokofiev at his most bored - like he was like - oh, another piano sonata assignment, let me go brush off what I didn't use before, and that'll be good enough, after all Cs get degrees! There is still banging and pounding, but this isn't vigorous - this isn't macho - it is lackadaisical.

What is worse is you can tell the pianist is really trying to make this musical - they are bringing 100 percent effort to the table - too bad, Prokofiev didn't - this is the limit of genius, yes, you may be a genius, but that doesn't mean anything and everything you produce is genius - for instance, you still fart, and those farts still stink, despite the fact you are a genius - that is a solid cliche to trope this sonata, which is not to say that the sonata doesn't have its moments - it does, but those are few and far between, and it is more likely than not that you would have already given up before then.

This is the kind of work that only get recorded for completion sakes, although, I wish artists had more integrity than that, but I get why they go for completion - the audience doesn't know any better, and is more likely to buy something complete than not - the customer isn't always right, hence, why we have curators, hence, why we have experts - I am neiter of those things, just in case you were wondering - I am just a free-writer reflecting on their own experience.

I cannot recommend this sonata.

[Harry]

Codex Tarasconi, 16th century - Diminuito.
Ensemble I Fedeli.


Recorded in 2010 at Schallbach, this CD represents the world of 16th century wind instruments played at a very high level and warmly yet detailed recorded, without missing the sonorities of all instruments used. It is simply a stunning display of the possibilities of old original instruments.
The Tarasconi Codex is a unique manuscript from the 16th century, which is now kept in the Biblioteca del Conservatorio di Musica Giuseppe Verdi in Milan. The codex preserves over 200 polyphonic works by the most famous composers in Italy and Europe from this period. Following the performance practice of the 16th century, the musicians of I Fedeli embellish their voices with virtuoso diminutions. Sometimes they use examples from treatises by masters such as Dalla Casa, Bassano or Bovicelli, sometimes they take these as sources of inspiration for their own improvised embellishments.
A mighty performance.

[AnotherSpin]

This is the only piano version of the French suites I really worship. It is well informed and sounds unpretentious and intimate - and even with an air of spontaneity. It's as if he is playing just for himself, and he also manages to transcend the limitations of the instrument, making me listen just to the music.

Someone said that with great musicians the instrument is of secondary importance - one forgets the instrument and listen only to the music.

Your comment sounds to me like confirmation of my hunch, and from a much more competent source

[Que]

I am actually not familiar with hese performances, but recent postings by traverso inspired me to give them a try:




PS I am starting at the beginning - always had a weak spot for Mozart's early symphonies.

[AnotherSpin]

[hopefullytrusting]

I am actually not familiar with hese performances, but recent postings by traverso inspired me to give them a try:




PS I am starting at the beginning - always had a weak spot for Mozart's early symphonies.

I love this set - very consistent.

[prémont]

Codex Tarasconi, 16th century - Diminuito.
Ensemble I Fedeli.


Recorded in 2010 at Schallbach, this CD represents the world of 16th century wind instruments played at a very high level and warmly yet detailed recorded, without missing the sonorities of all instruments used. It is simply a stunning display of the possibilities of old original instruments.
The Tarasconi Codex is a unique manuscript from the 16th century, which is now kept in the Biblioteca del Conservatorio di Musica Giuseppe Verdi in Milan. The codex preserves over 200 polyphonic works by the most famous composers in Italy and Europe from this period. Following the performance practice of the 16th century, the musicians of I Fedeli embellish their voices with virtuoso diminutions. Sometimes they use examples from treatises by masters such as Dalla Casa, Bassano or Bovicelli, sometimes they take these as sources of inspiration for their own improvised embellishments.
A mighty performance.

Noted for purchase. 

[Karl Henning]

Just back from an early, hour-long concert: An Alpine Symphony by Richard Strauss, with The Philadelphia Orchestra and conductor Stéphane Denève. Afterward he stayed for a brief chat, talking about rehearsing the piece, some backstage glimpses, and other anecdotes.

The performance was spectacular, with particularly great contributions from the winds (oboe and horns) and some gorgeous trombone work.

Nice. Saw Denève when he guessed in Boston. Love his work!

[Harry]

Noted for purchase. 

You will not be disappointed Poul, I assure you!

[Karl Henning]

Stravinsky - Two Balmont Songs

Early, sweet work!

[Karl Henning]

Carter - Symphony Of Three Orchestras

Classic!

[Traverso]

Only for guitar lovers,the E  string is lowered to a D.I love the sonority...

[Karl Henning]

Starting out my morning, 7:53 AM, with Gloriana Wolf playing Prokofiev's Piano Sonata No. 4: https://www.youtube.com/watch?v=DpG53mjm47U

And now we have returned back to the model of sonata 2, but this one is even more subdued but somehow less melodic - out of the four sonatas I've heard so far - this is the weakest. This feels like Prokofiev at his most bored - like he was like - oh, another piano sonata assignment, let me go brush off what I didn't use before, and that'll be good enough, after all Cs get degrees! There is still banging and pounding, but this isn't vigorous - this isn't macho - it is lackadaisical.

What is worse is you can tell the pianist is really trying to make this musical - they are bringing 100 percent effort to the table - too bad, Prokofiev didn't - this is the limit of genius, yes, you may be a genius, but that doesn't mean anything and everything you produce is genius - for instance, you still fart, and those farts still stink, despite the fact you are a genius - that is a solid cliche to trope this sonata, which is not to say that the sonata doesn't have its moments - it does, but those are few and far between, and it is more likely than not that you would have already given up before then.

This is the kind of work that only get recorded for completion sakes, although, I wish artists had more integrity than that, but I get why they go for completion - the audience doesn't know any better, and is more likely to buy something complete than not - the customer isn't always right, hence, why we have curators, hence, why we have experts - I am neiter of those things, just in case you were wondering - I am just a free-writer reflecting on their own experience.

I cannot recommend this sonata.

I like your "off the beaten path" approach, here.

[Karl Henning]

I am actually not familiar with hese performances, but recent postings by traverso inspired me to give them a try:




PS I am starting at the beginning - always had a weak spot for Mozart's early symphonies.

Aye, I like this. 

[Karl Henning]

Only for guitar lovers,the E  string is lowered to a D.I love the sonority...

Not surprisingly, as a non-guitarist I was ignorant of this practice until I attended my friend Aaron's guest lecture at BU last month.

[Traverso]

Aye, I like this.

and for a good reason 

[Mister Sharpe]

My daughter sang Folk Songs of the Four Seasons in a community youth choir and while I would not call its director a martinet, the very fact that I weighed that word gives an impression of how tough and exacting he was.  Nearly four months of precious Saturday mornings were devoted to her rehearsals; the effort invested made those Saturdays even more precious, esp. so as the experience afforded me weekly exposure to the nitty-gritty of the work.  Not to mention the choir's holiday performance which was ecstatically marvellous! So I can be forgiven, I think, for wondering why the heck this isn't recorded more frequently - its instrumental counterpart certainly is. This was its first recording (in 2009!). Its premiere in 1950 featured a choir of 3000 women (!); VW's wife, Ursula, wryly observed that "the audience seemed far fewer than the performers."    BTW, Am I the only one on GMG who owns this disk?

[Harry]

Viol d'amour I'm called—and rightly so,
Because my rare, sweet tone makes lovers long, their spirits raised.
Yet I am often praised by saddened hearts,
When they, plunged deep in pain, delight in dulcet tones.
Whoever music knows and loves will quick confess,
That I as grace itself by all must needs be called.

Works for Viola d'amore.
See covers for details.

If you are looking for a classical music gift for a friend, a record lover who already has everything? Give him or her this CD with completely unknown music, played by brilliant musicians on an extremely unusual instrument, who would hesitate? Of course no one would.
Apart from Christian Pezold, I am completely in the unknown about the rest of the composers on this disc. Well okay I have heard in the past a few things by Wilhelm Ganspeck, but I remember nothing of it. This CD alone is therefore a treasure, more so for the viola d'amore, impeccably played by Anne Schumann & Klaus Voigt. And furthermore the BC is pretty awesome too. The music breathes naturally, and organically, a ensemble that feels like a tightly knitted and warm sweater. And the composers on this disc are well worth the effort of listening. Close to a SOTA recording.

[Karl Henning]

and for a good reason 

Nice to have that affirmed, as I am not shy of attaching my musical affection on the occasional whim.

[Traverso]

Mozart



CD 1