What are you listening 2 now?

[Harry]

Observations of Venice.
Consort Music-Cinquecento
Giorgio Mainerio: Passamezzo & Saltarello; Ricercar Sesta; The first book of balli
Claudio Merulo: Canzon a 4 dita "La Bovia" Philippe Verdelot: Con l'angelico riso, Girolamo Parabosco: Fantasia da Pacem Domine,  Giovanni Bassano: Ricercare No. 3-5; Fantasia No. 2; Baldassare Donato: Chi la gagliarda, Francesco Bendusi: Opera nova de balli, Fabritio Caroso: Barriera; Laura Soave; Celeste Giglio, Cipriano de Rore: Non e ch'il duol; Io canterei d'Amore; Anchor che col partire, Floriano Canale: Canzon La Stella, Adrian Willaert: Io amai semper.

Ian Harrison (Percussion), Ensemble Feuervogel.

Inspired by his impressive descriptions, the Ensemble Feuervogel follows Coryat on his journey of discovery through the alleyways, squares and canals of the Serenissima: from the magnificent St. Mark's Church to the noble palazzi of the Venetian aristocracy and the elegant courtyards where music, dance and courtly art played a central role. The concert program Observations of Venice brings elaborate diminutions and madrigals into a dialogue with dance music, ricercar's and canzonas. In this way, the Feuervogel ensemble revives the music of the Venetian cinquecento, which Coryat wrote was "so beautiful that I would be prepared to walk a hundred miles at any time to hear something similar.
And it sure is gorgeous, beautifully performed and recorded. a real feast to hear this brand-new recording. Very much recommended to lovers of wind and percussion instrument from this period. SOTA recording.

[Wanderer]

[Madiel]

You also said "rightly or wrongly".
It's the idagio mistake I was addressing so that you (and others) would have no lingering doubts and a little extra context.

One does have to wonder why Medtner didn't just say the opus consisted of three sonatas of contrasting characters. Which would hardly have been unusual, although single-movement sonatas are not that common. This "triad" business did rather give the impression of a greater linkage than "here are a few sonatas I've written recently".

[steve ridgway]

First listen to Stravinsky - A Sermon, A Narrative And A Prayer

Great stuff, a massive improvement on The Rake's Progress .

[steve ridgway]

Nono - España En El Corazon

[AnotherSpin]

Bach is basically that unbreakable, idiot-proof capsule, your personal force field against the morons orbiting you. Turn it on, and suddenly the world's cacophony bounces off like rubber bullets on vibranium. While they're out there arguing behind the soundproof barrier, you're vibing in aural paradise, untouchable.

[Todd]

K576.

[Harry]

The Queen's Masque.
A female representation of power in English 16th century consort music.

John Bennet: Eliza, her name gives honour.
William Byrd: The fair young virgin; My Lord of Oxenfords Maske; Mounsiers Almaine
Daniel Bachiler: Daniel's Almain
Daniel Norcome: With Angel's face and brightness.
John Dowland: Sir John Souches Galliard / My thoughts are winged with hope.
Hugh Ashton: Hugh Ashton's Maske.
John Hilton: Fair Oriana, Beauty's Queen.
John Wilbye: Lady, when I behold.
Edward Johnson: Eliza is the fairest Queen.
Thomas Morley: The Frog Galliard; Hard by a crystal fountain; La Coranto; The Lord Souches Maske.
John Mundy: Were I a king.
Robert Parsons: De la court.
Peter Philips: Pavan, Galliard.
Richard Dering: Pavan in Four Parts.
Richard Nicholson: The Jew's Dance.
Thomas Weelkes: Hark, I hear some dancing.
Anonymus: Galliard; Gallyarde; Pavana; My mind to me a kingdom is; The kyngs pawvyon.

Carine Tinney, Soprano, Ensemble Feuervogel, Ziv Braha, lute.


I was so impressed by the first disc of this ensemble that I ventured in a release from 2024, which is as a good as their new recording from 2025. The sound is again SOTA, and all involved give a sublime performance. These musicians are clearly on the top of the ladder for wind instruments, and make it again a feast to listen to, so........ fairy figure, minstrel or holy virgin? Elizabeth I used all these role models as if in a masquerade to legitimize her position as monarch. Female rulers were not actually envisaged in the structures of the 16th century. They contradicted the passive, obedient and silent image of women of the time. With masque music by Byrd, Dowland, Morley, Parsons and others, this ensemble  looks behind these royal masks, breaks through courtly facades and explores how the problem of role models was solved under Elizabeth I. Recommended.

[Linz]

Adolph von Henselt Piano Concerto in F Minor, Op. 16
Hans Bronsart von Schellendorf Piano Concerto in F-Sharp Minor, Op. 10
Paul Wee piano
Swedish Chamber Orchestra, Michael Collins

[Papy Oli]

Schönberg
String quartet (1897)

Quatuor Diotima.

A first listen to the work.

[Linz]

Anton Bruckner Symphony No. 7 in E Major, 1885 Version. Ed.Leopold Nowak
The Cleveland Orchestra, Christoph von Dohnányi

[71 dB]

On TV:

Radion sinfoniaorkesterin konsertti - Yle Teema & Fem

Ida Moberg (1859 – 1947): Auringonnousu "Sunrise" (1909)
Edward Elgar: Cello Concerto in E Minor, Op. 85
Johannes Brahms: Symphony No. 1 in C Minor, Op. 68

Finnish Radio Symphony Orchestra
Senja Rummukainen, cello
Andrew Manze, conductor

[AnotherSpin]

Today's release on Qobuz.

[Lisztianwagner]

Arnold Schönberg
Chamber Symphony No.1

Kirill Petrenko & Berliner Philharmoniker



Petrenko's Schönberg has been quite convincing so far, Verklärte Nacht (in the version for string orchestra) was incredibly passionate and intense, wonderfully played by the orchestra, with intensity, emotional strenght, but nonetheless balance and accuracy; Variations for Orchestra was beautifully expressive and detailed, Petrenko's transparent interpretation brought out well the tension, the variety of the sonorities and the angular contrasts of the work, though if compared with my favourite Karajan/BPO, it seemed it didn't have the same powerfully haunting atmospheres and sharpness in the abrupt changing of dynamics, despite being compelling anyway. I'm particularly looking forward to listening to Die Jakobsleiter, which was described as the gem of the box set.

[Linz]

Georg Philipp Telemann The Grand Concertos for Mixed Instruments, Vol. 2
La Stagione Frankfurt, Michael Schneider

[SonicMan46]

Telemann, GP - Wind Works for Horn, Trumpet & Oboe on the recordings below, mostly on period instruments/reproductions - Ponseele made the oboes used in his recording after Thomas Stanesby ca. 1740; Goodwin on an oboe made by Paul Hailperin after P. Paulhahn 1740.  Dave

 

 

[Linz]

Anton Bruckner Symphony No 4 in E Flat Major, 1880 (aka 1878/80) - Ed. Robert Haas
Wiener Philharmoniker, Volkmar Andreae

[ritter]

First listen to this recent purchase...



I already knew the Violin Concerto from a previous recording (also on the BIS label), but here we get a "new critical edition". The Concerto for Violin, Viola and Wind Orchestra is a world première recording.

Skalkottas is always an intersting composer...

[ritter]

Anton Bruckner Symphony No 4 in E Flat Major, 1880 (aka 1878/80) - Ed. Robert Haas
Wiener Philharmoniker, Volkmar Andreae

A famous cycle, which I failed to buy when I could and now is prohibitively expensive (I do have the Fourth on the Orfeo label).

But the orchestra is the Vienna Symphony, not the Philharmonic...

[Mandryka]

Ravel: Gaspard de la Nuit
Ivo Pogorelich (piano)

A dazzlingly brilliant recording, Scarbo has to be heard to be believed (and even then you might not believe it, and I imagine some might not approve). Only someone of Pogorelich's talents could possibly pull it off. Ondine has an extraordinary transparent sensuality to it, reality just seems to melt, and rarely have I heard Le Gibet quite so oppressively bleak. At the mountaintop of piano recordings imo.

I remember hearing Pogorelich play this live in the early 80's, shortly after the Chopin Competition drama, and I had the strong impression he was playing without using any sustain pedal at all, such was the clarity he achieved with everything (of course he must have used it, though far less than any other performance I'd ever heard). His somewhat glamorous aura at that time radiated such self-belief and confidence too, I was very struck, so tangible was it.

I'd forgotten how remarkable his Ravel is. Thanks for prompting me to listen again.

(I also have a live recording, Amsterdam 1982, which I don't think I've ever actually heard - you're welcome to it of course.)