What are you listening 2 now?

[Wanderer]

[Que]

Bruckner no.4, live, Munich 1972.

[Harry]

LE GRAND EMBRASEMENT
Music for a Mad King.
Performed by: Into the Winds.

Despite the title of this CD it is no embarrassment at all, instead it is a great delight and pleasure to listen to such perfect performances of Renaissance music for Winds. Recorded in 2024 at the  église Notre-Dame de Centeilles, it renders a perfect acoustic for the instruments to bloom and conveys all the many details however small to surface. Most enjoyable, also a great choice of works, varied and with some unknown names, at least for me. SOTA sound.

[Papy Oli]

Fauré - Songs (Malcolm Martineau & various singers)



Le Papillon et la Fleur Op.1
Mai Op.1
Poème d'un jour Op. 21 (Rencontre, Toujours!, Adieu)
Lydia
Tristesse in C Minor

[Iota]

Tchaikovsky: Album for the Young, Op. 39
Daniil Trifonov (piano)

Character just spills off the page under Trifonov's searching fingers, and the pieces, which are like miniatures torn from a scrapbook of childhood memories, emerge so colourful and vibrant, even moving at moments.
The way he plays it, the set might be more properly named 'Album for the Child Prodigy', and the last piece feels like the reflections of a very mature and sophisticated mind, but they lose nothing in authenticity and gain enormously from Trifonov's unique sensibilities. Very involving and enjoyable.

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.)

You have a PM. 

[SonicMan46]

Telemann, GP - recordings below on period instruments - still going through my GP collection, will take some more days     Looking at my attached collection, these discs are about in the middle - Dave

   

[Todd]

D575.

[Wanderer]

[ritter]

Just back home after buying a couple of CDs, and spinning this, my first Medtner CD (hat tip to @Wanderer ):



Even if this not the musical idiom I am most attuned to, I am liking this in this first listen...

[AnotherSpin]

Francisco Correa de Arauxo (El Órgano Histórico Español, Vol. 2)

Bernard Foccroulle

[Linz]

Johannes Brahms Symphony No. 1 in C Minor, Op. 68
Brahms - Symphony No. 4 in E Minor, Op. 98
Carl Maria von Weber  Der Freischütz, Op. 77, J. 277: Overture

[AnotherSpin]

Just back home after buying a couple of CDs, and spinning this, my first Medtner CD (hat tip to @Wanderer ):



Even if this not the musical idiom I am most attuned to, I am liking this in this first listen...

The picture on the cover struck me as decidedly Ukrainian in mood, landscape, and costumes. I found the original in a Google search, and sure enough, it's a painting by the Ukrainian artist Konstantin Kryzhitsky.

[Madiel]

Ah, indeed.

Your framing of what you now reveal to be track-bundling as something irregular (when it's actually no different than the CD) did not help convey what you wanted it to mean. Maybe you should've been clearer instead of snarkier.

As for "seeking info": "I never asked" ignores how your "rightly or wrongly" and "wondering why" posts read as prompts for explanation in a discussion thread. In a public forum like this, we often chime in on potential clarifications or misunderstandings for the wider community's sake and Medtner gets very little discussion here as it is (thanks for ruining that, btw). And I'd assume that Goethe's literary source for the works would mean more to you than deflections on track-bundling if you were conversing with a modicum of good faith and didn't want ungracious motives ascribed to you.

Enjoy your Medtner journey, hopefully with more eye for discussion and less for confrontation.

Nothing I said was intended as either snarky or confrontational. Thanks for insisting on reading it that way. Even when I try to say that we've been at cross-purposes, you respond like this. So let ME respond like THIS. Because NOW I'm feeling snarky.

I didn't say anything about it being irregular in the sense you now seem to be using ("Idagio did something WRONG"). It simply struck me as an interesting question, should three 1-movement sonatas in disparate keys be presented and listened to as separate works or heard together? Because in my view you could do it either way.

Idagio chose to do it in the way that meant when I pressed play, it played all 3 sonatas. Which is unusual, but so are several one-movement sonatas.

Everything else is a narrative that you constructed in your head, which I'm not responsible for. I wasn't aiming for "clarity" as I expressed my listening thoughts so I don't especially care if I wasn't clear, though, you know, I understand the function of a question mark and didn't use one.

The situation of the music is ambiguous. I was fine with that. I didn't ask you to come in and "resolve" the ambiguity for me. Which you didn't anyway. Weighing in was not actually the problem, the whole thing arises from you thinking you had to SOLVE this for me and then taking offence at me not regarding it as solved.

Over and out.

[ritter]

The other CD I purchased today is now in the player: Robert Casadesus's 24 Préludes, op. 5 and Toccata, op. 40, played by Mauro Cecchin.



So far (I'm into the 5th prelude), as I expected from previous exposure to the pianist-composer's output, this sounds unmistakably Gallic and of its time (1924). The French Wikipedia article on these preludes highlights the clear influence of Le Tombeau de Couperin (the preludes are dedicated to Ravel. To me, somehow, the name of Jean Roger-Ducasse comes to mind when listening to this music. Be that as it may, I'm enjoying this very much. 

[brewski]

Korngold: "Mein Sehnen, mein Wähnen" from Die tote Stadt (Huw Montague Rendall / Ben Glassberg / Opéra Orchestre Normandie Rouen). Oh my goodness, what a voice. Looking forward to hearing the rest of this recital disc, which as far as I can tell, has received wide acclaim.

[Linz]

Anton Bruckner Symphony No. 9 in D Minor, 1894 Original Version. Ed. Leopold Nowak
London Symphony Orchestra, Sir Colin Davis

[hopefullytrusting]

Another new discovery for me: Oscar Espla

I found him by looking to see if there was a complete set of Czerny's piano sonatas, and Martin Jones is currently working on a set, and that led me to a tribute disc for Jones, and on that disc he plays Espla's Op. 54, and then I YouTubed Espla, and came across Pedro Carbone playing his Op. 53, his Sonata Espanola:

https://www.youtube.com/watch?v=YCfRL2-4Xxg

What a marvelous work - emotional, lyrical, vibrant, and it feels Spanish, at least Spanish in the sense of the other Spanish composers I have heard, but who knows if that is actual, real, or imaginary. I could be hearing something because I want to hear something aka Zizekian suspiciousness - there's a subtitle of Chopin on the YouTube video, and it does feel like music that would be played in a salon - it does not feel like music made for a hall.

It sort of reminds me of those stories I heard of Richer, huddled over an upright, candlestick flickering, as he narrows his eyes trying to read the score - playing only for himself - it is a music of enclosure, of setting apart and setting off. I mean were we meant to read Kafka's works? This almost feels like an ethical/moral quandary. I feel like a voyeur, peeking over the fence at the sunbathers next door - through the hedge.

Musically, it is a showcase, and the pianist and the sound are excellent. I am not one to question whether something should be played or not, although, by merely saying that I've already said something, likely more than I wanted to say. I remain more stupefied than ever. It is one of those things that all academics learn eventually - that the more you read on your subject, the less you understand it - if you think about it, it really is only natural.

I would recommend this.

[ritter]

Korngold: "Mein Sehnen, mein Wähnen" from Die tote Stadt (Huw Montague Rendall / Ben Glassberg / Opéra Orchestre Normandie Rouen). Oh my goodness, what a voice. Looking forward to hearing the rest of this recital disc, which as far as I can tell, has received wide acclaim.

Very nice indeed!

Rendall will be coming to Madrid next Spring to give a recital of Poulenc (Le Bestiaire), Fauré (La bonne chanson —yes!—), Schoenberg (op. 2), and Mahler (Rückert-Lieder —yes again!—). The pianist is Hélio Vida. I'll make a point of attending.

[brewski]

Very nice indeed!

Rendall will be coming to Madrid next Spring to give a recital of Poulenc (Le Bestiaire), Fauré (La bonne chanson —yes!—), Schoenberg (op. 2), and Mahler (Rückerr-Lieder —yes again!—). The pianist is Hélio Vida. I'll make a point of attending.

His Mahler here — Lieder eines fahrenden Gesellen and "Ich bin der Welt abhanden gekommen" from Rückert-Lieder — is pretty great. Lucky you!

[Linz]

Georg Philipp Telemann The Grand Concertos for Mixed Instruments, Vol. 3
La Stagione Frankfurt, Michael Schneider