What are you listening 2 now?

[Harry]

Henriette Bosmans (1895-1952)
Ernest Chausson: Piano Trio in G minor, Op.3
Frank Martin: Trio sur des melodies popular irlandaises.
Chekhov Trio.

This ensemble was formed in 2016 and their message to the world is "They see themselves as a modern ensemble with curiosity and sensitivity for historical performance practice" Well, if this has to sell them to the classical audience I see black. They use a straight-strung grand piano, which does not sound that fantastic to my ears, and their playing style, inspired by Sigiswald Kuijken, is not really helping this recording. The music is fine, the interpretation distant and cold, ans strictly straightforward. Not for me!

[AnotherSpin]

[hopefullytrusting]

Starting my morning off right: Shapero's Piano Sonata No. 2 played by Boriskin:
https://www.youtube.com/watch?v=qnt-al3n-ms

Not dissimilar to his first, it gets right into it - keeps its neoclassical bent, although this one feels more Bach-inspired than Scarlatti - as the lines aren't at clear, more WTC than Scarlatti sonata when it comes to conciseness and preciseness - still accurate, just not pin-point - still notes piled upon notes in a contrapuntal fashion, at least in the first section. The section section feels more like Bach's Goldbergs - reflective, slow variations - what I like about neoclassicism, at least for me, is how easy it is to follow, or at least it aligns with how my brain intakes music. I suppose, in the end, I ended up in my job because it is the purest expression of how I'd like the world to be, lol.

Harmonically, there isn't much here, but it also isn't what I am looking for - the notes are enough, and what I rally like is that he really focuses in on the note he intends - by which I mean the sound he wants is the one he writes - it is a one-to-one correspondence - most orchestral work isn't built on the notes written on the page but rather the sound that emerges when the forces combine, which blows my mind because that is almost a bridge too far in that my brain doesn't or isn't capable of hearing what that sound might be.

The third section is more modern - post-romantic - almost Schoenberg in its curtness but not atonal - if atonality can exist, but then it moves into sections that flow like Rachmaninoff's etudes, which are very accumulative - I like that kidn of buildup. I also how it just ends, abruptly. I know they say that Bach didn't finish the Art of Fugue, but I find its end perfect. He just stops. I like that kind of finality. I like that Shapero is like enough is enough - more composers should take that tact.

High recommend.

[Madiel]

As with a meteorologist, there may be the odd instance of his chancing to be right.

Or rather, what happens is that people only notice when meteorologists are wrong and make no note of the incredibly frequent occasions that they're accurate.

Notability and frequency are not synonyms. In fact they're arguably opposite.

[Que]

[Madiel]

Beethoven: String trio in D, op.9/2.

And I've been revisiting op.9/1 as well. I've listened to both on multiple occasions today, partly because I sometimes got distracted by annoying things like employment, partly because they're so darn enjoyable.

[Florestan]

Or rather, what happens is that people only notice when meteorologists are wrong and make no note of the incredibly frequent occasions that they're accurate.

Meteorologists are always right about the weather per se. It's the timing that they are sometimes wrong about. 

[Madiel]

Meteorologists are always right about the weather per se. It's the timing that they are sometimes wrong about. 

I've yet to see a forecast that is not referenced to a time period.

The habit of people contacting meteorologists to ask what the weather will be like on their planned wedding date in 9 months time does rather suggest, though, that the general public has yet to come to grips with how the timing of forecasts works.

[Karl Henning]

Or rather, what happens is that people only notice when meteorologists are wrong and make no note of the incredibly frequent occasions that they're accurate.

Notability and frequency are not synonyms. In fact they're arguably opposite.

Point taken. I do hope that Viola Concerto may be good.

[Florestan]

I've yet to see a forecast that is not referenced to a time period.

That's exactly the idea behind the joke. If they say "tomorrow will rain" and it doesn't rain tomorrow, that means they were wrong about when it will rain, not about the rain itself, which will certainly come one day.

[Irons]

Wouldn't it have been easier and more eye pleasant to just write "Complete Violin Sonatas" or even "The Violin Sonatas"? 

Or even more to write, Four Pieces for Violin and Piano op.29 and Variations on a Phyrgian Theme op.105 which are included in the same CD.

[Madiel]

That's exactly the idea behind the joke. If they say "tomorrow will rain" and it doesn't rain tomorrow, that means they were wrong about when it will rain, not about the rain itself, which will certainly come one day.

I am sadly all too familiar with the desire of people to not read all of the parts of a sentence together...

[Mister Sharpe]

I suppose I should be thrilled to keep discovering new Hindemith works I never knew existed.  And I am.  But I'm also wondering how so many escaped my radar.  Something's not quite right in Happy Hindemith Land, at least insofar as I've construed it, so I'm gonna spend part of the day with New Grove re-reading the Hindemith biography and reviewing the List of Works. What occasioned this mini-crisis was today's Listener's Club which features Hindemith's Six Chansons, based on some of Rilke's French poems (several of the ones Hindemith set I'd actually read). News to me! https://thelistenersclub.com/2025/10/15/hindemiths-six-chansons-an-ode-to-nature-harmony-and-community/

[(poco) Sforzando]

Point taken. I do hope that Viola Concerto may be good.

So do I. I've ordered it.

[Karl Henning]

So do I. I've ordered it.

I look forward to your report!

[JBS]

Or even more to write, Four Pieces for Violin and Piano op.29 and Variations on a Phyrgian Theme op.105 which are included in the same CD.

Is that everything he wrote for violin and piano? In which case (Complete) Works for Violin and Piano.

TD

[Linz]

Hector Berlioz Nuits d'ètè Mèlodies
Orchstre de L'Opera de Lyon, John Eliot Gardiner

[Daverz]

Ben-Haim: Symphony No. 2 - Lahav Shani, Israel Philharmonic

As with his recording of the Symphony No. 1, Shani takes a more romantic approach to the music than Yinon on CPO.

[Wanderer]

[Linz]

Anton Bruckner Symphony No. 4 in E Flat Major, 1878/80 Version (1880 with Bruckner's 1886 revisions) - Ed. Leopold Nowak
Rundfunk-Sinfonieorchester Berlin, Heinz Rögner