What are you listening 2 now?

[Nostromo]

Quartet No.14.

[JBS]

Lately VOCES8 has caught my ear, and today they uploaded 90 minutes of works old and new. As a capella vocal groups go, they must be one of the best at the moment.

The BBC Music Magazine devoted its monthly CD to them a couple of issues ago.

TD
Marais: from the Fourth Book, CD 15 of this set contains the Suite d'un gout Etranger, whose opening Marche Tartare is featured on the CD wallet.

[André]

One could be forgiven for passing by this disc, considering how drab and uninformative the cover is. That's ECM for you. Could it be that they count on the WTF? factor to attract the attention of prospective buyers ?

In any case, what we get is Silvestrov's Sonata for cello and piano from 1983, his first String Quartet from 1974, Three Postludes from 1982 (not to be confused with the 4 Postludes for piano and orchestra from 2004) and finally, his Hymn 2001 for piano. The latter piece is played by Silvestrov himself.

The fine Rosamunde Quartet is heard in what is for me the most interesting piece on the disc, the first quartet (two more followed, in 1988 and 2011). Silvestrov abandoned avant-garde techniques in the mid sixties, but he was not averse to using them if it contributed to create the specific sounds he had in mind. There's a lot of aleatoric sounds, twelve-tone melodies, juxtaposed to chorales, fugatos and other definitely 'classical' devices. The four instruments alternately spar and colaesce as the music unfolds in a single, unbroken arc.

The Three Postludes are for different combinations. No 1 is for soprano and piano trio, no 2 is for solo violin, while no 3 is a cello and piano piece.

A substantial and stimulating program this one, presenting contrasting but complementary facets of Silvestrov's art.

[JBS]

One could be forgiven for passing by this disc, considering how drab and uninformative the cover is. That's ECM for you. Could it be that they count on the WTF? factor to attract the attention of prospective buyers ?

In any case, what we get is Silvestrov's Sonata for cello and piano from 1983, his first String Quartet from 1974, Three Postludes from 1982 (not to be confused with the 4 Postludes for piano and orchestra from 2004) and finally, his Hymn 2001 for piano. The latter piece is played by Silvestrov himself.

The fine Rosamunde Quartet is heard in what is for me the most interesting piece on the disc, the first quartet (two more followed, in 1988 and 2011). Silvestrov abandoned avant-garde techniques in the mid sixties, but he was not averse to using them if it contributed to create the specific sounds he had in mind. There's a lot of aleatoric sounds, twelve-tone melodies, juxtaposed to chorales, fugatos and other definitely 'classical' devices. The four instruments alternately spar and colaesce as the music unfolds in a single, unbroken arc.

The Three Postludes are for different combinations. No 1 is for soprano and piano trio, no 2 is for solo violin, while no 3 is a cello and piano piece.

A substantial and stimulating program this one, presenting contrasting but complementary facets of Silvestrov's art.

That's a fairly standard ECM cover


I probably got the Ysaye 20 years ago, while the Schiff is relatively new.

[AnotherSpin]

One could be forgiven for passing by this disc, considering how drab and uninformative the cover is. That's ECM for you. Could it be that they count on the WTF? factor to attract the attention of prospective buyers ?

In any case, what we get is Silvestrov's Sonata for cello and piano from 1983, his first String Quartet from 1974, Three Postludes from 1982 (not to be confused with the 4 Postludes for piano and orchestra from 2004) and finally, his Hymn 2001 for piano. The latter piece is played by Silvestrov himself.

The fine Rosamunde Quartet is heard in what is for me the most interesting piece on the disc, the first quartet (two more followed, in 1988 and 2011). Silvestrov abandoned avant-garde techniques in the mid sixties, but he was not averse to using them if it contributed to create the specific sounds he had in mind. There's a lot of aleatoric sounds, twelve-tone melodies, juxtaposed to chorales, fugatos and other definitely 'classical' devices. The four instruments alternately spar and colaesce as the music unfolds in a single, unbroken arc.

The Three Postludes are for different combinations. No 1 is for soprano and piano trio, no 2 is for solo violin, while no 3 is a cello and piano piece.

A substantial and stimulating program this one, presenting contrasting but complementary facets of Silvestrov's art.

Manfred Eicher's ECM Records first carved its niche in the 70s by quietly yet implacably anchoring a generation of European jazz masters (Scandinavians, Germans, Britons, and a few Americans who refused the Broadway of mainstream) into the permanent landscape of modern music.

What distinguished ECM jazz was never only sound, but atmosphere: vast, hushed, unhurried compositions that seemed to exhale frost. Their sleeves mirrored the music, with spare vistas, almost interchangeable, all snowlit silence and muted horizon.

That same austere beauty later migrated to the ECM New Series, clothing albums such as Valentin Silvestrov's Leggiero, pesante in the label's signature half-light. ECM has since released more Silvestrov than any other label, mostly chamber works, and it was through Eicher's editions that I first stepped into the hushed, trembling light of Silvestrov's music.

[PaulR]

Atterberg: Symphony #7

[Symphonic Addict]

Totally agreed! With certain composers I have trouble deciding which is their best/my favorite symphony, but with Melartin the choice is easy - the Third. (Not that his other symphonies are significantly weaker works in any way.) I know precisely the powerful passage you're referring to in the slow movement, and I agree about the Dukas similarity in the scherzo. It's a prime example of a late-romantic symphony which contains equal parts drama, lyricism, playfulness, inspired melodies, colorful orchestration, and on top of all that is not overlong either. As you say, Cesar, a new CPO recording of the work would certainly be a cause for celebration!

Very well put! That is a sort of symphony I really am a sucker for, one that also includes a cohesive narrative or a convincing development of ideas.

[Symphonic Addict]

Milhaud: String Quartet No. 17

This relatively short and delectable work encapsulates such a variety of alluring "condiments" that make it so distinguishable and substantial. What would we Milhaud fans be without this remarkable complete set of his string quartets?

[Nostromo]

After late Beethoven, the logical choice is late Liszt, right?

Liszt: Fantasie und Fuge über B-A-C-H, Variationen über ein Motiv aus J.S. Bach's Kantate "Weinen, Klagen, Sorgen, Zagen", Funérailles No. 7 aus den Harmonies poétiques et religieuses, Am Grabe Richard Wagners, Sinistre - Unstern!, Nuages gris - Trübe Wolken


In case anyone is wondering what a "Direct Cut SACD" is, that means it was recorded, edited, mixed, and mastered in DSD, never converted to PCM.

[AnotherSpin]

After late Beethoven, the logical choice is late Liszt, right?

Liszt: Fantasie und Fuge über B-A-C-H, Variationen über ein Motiv aus J.S. Bach's Kantate "Weinen, Klagen, Sorgen, Zagen", Funérailles No. 7 aus den Harmonies poétiques et religieuses, Am Grabe Richard Wagners, Sinistre - Unstern!, Nuages gris - Trübe Wolken


In case anyone is wondering what a "Direct Cut SACD" is, that means it was recorded, edited, mixed, and mastered in DSD, never converted to PCM.

The Stockfish edition, it simply has to sound absolutely stunning. @Harry, have you listened to it? I'm usually not that big on Liszt, to be honest.

[Harry]

The Stockfish edition, it simply has to sound absolutely stunning. @Harry, have you listened to it? I'm usually not that big on Liszt, to be honest.

Me neither, but I will listen to it. Bookmarked it, and will listen to it next.

[Harry]

Gaetano Pugnani.
Sonate E Trii.
Trios op.1 Nr.1 & 6 and Sonatas for Violin & BC, Op.5, Nos.2 & 3; Sonatas for 2 Violins, Op.4, Nos.1 & 3
L'Astree.

This recording from 2005 sounds good, is performed with much pleasure and insight, an ensemble that deserved all the accolades they got in the past, and are still active, although the last recording I saw by them was of the year 2022 on CPO. Pugnani is not that often recorded which is a shame because it is well written. A bit of Vivaldi's energy is added as well as virtuosity.

[Que]

Given the choice between the performances by Beauty Farm or by Capilla Flamenca, I picked the latter. On this recording the mass is preceded by different setting of the song by Agricola himself from which the melody was taken, also performed by a gamba trio. The mass mvts are interspersed by gamba adaptations of songs by contemporary composers. It doesn't really work... I prefer to skip those....

https://www.musica-dei-donum.org/cd_reviews/Ricercar_RIC306.html

https://www.amazon.com/product-reviews/B003SSIL70/ref=acr_dp_hist_5?ie=UTF8&filterByStar=five_star&reviewerType=all_reviews#reviews-filter-bar

[Que]

Harry provided me a reminder of this recording recently.
And I am so glad he did, because this is such gorgeous music.
The recording and performances create a very warm and authentic atmosphere. Beautiful...

[Harry]

Franz Liszt (1811-1886) - Late Piano Works.
Péter Tóth, Piano.
DSD-Surround-Recording at CREAR, Argyll, Scotland(Steinway Concert Grand Piano - Model D), 2004.

What is a DIRECT-CUT-SUPER-AUDIO-CD?
On the Super Audio CD (SACD) the sound is recorded in DSD (Direct Stream Digital) format. The sampling frequency (2.8224 MHz) is 64 times that of a traditional CD. Furthermore, DSD uses 1-bit quantization. With the aid of this technology an even broader frequency range (up to 100 kHz) and even greater dynamics (120 dB) can be achieved over the entire useful audio range. In CREAR we used our SADiE DSD8 system for the recording, processing and mastering of this DIRECTCUT-SUPER-AUDIO-CD - a brand-new system from the tradition-steeped British manufacturer of mastering equipment that allows simultaneous recording of 8 channels in Direct Stream Digital. The analogue signal from the microphone is converted at the input to DSD and is also maintained in DSD format throughout the processing stages. The end result is then obtained in the SADiE DSD8 - the "cutting master" (AIT tape) - which is later transferred directly to an SACD glass master in the pressing plant. This DIRECT-CUT-SUPER-AUDIO-CD will enable you to hear a 5.1 DSD surround mix which brings theacoustics of the recording room in CREAR directly to the listener, as well as a DSD stereo mix on the SACD layer. The hybrid layer which guarantees downward compatibility contains the 16-bit PCM stereo program derived from the DSD mix.

@AnotherSpin made me aware of this Stockfish reference recording, known for their extraordinary sound. I gave an explanation what this technique means and how it is achieved. quite clear it seems to me. But how does it sound-well very natural, as if Péter Tóth is playing in your room. An enormous 3d bubble, very detailed and a a ink black background. A Steinway concert Grand model D, it sounds the works-absolutely stunning. It is one of many recordings that are reference and this one is too. Now I do not come naturally to Liszt, he is always a bit of a struggle for me, but if you get his music presented in such good sound I forget my sentiments and enjoy. Toth is a fine pianist, who brings out all sonorities Liszt could possibly possess, and though the works on this disc are demanding for listener and artist, your effort will be worth the ride.

[Mandryka]

@Que Maybe the word for Rondeau's Louis Couperin harpsichord music is sensual, erotic. I'm just listening to the Blancrocher tombeau and it struck me that it's like a slow fuck. Good way to start the day.

[Harry]

@Que Maybe the word for Rondeau's Louis Couperin harpsichord music is sensual, erotic. I'm just listening to the Blancrocher tombeau and it struck me that it's like a slow fuck. Good way to start the day.

That's a remarkable statement, to say the least

[Madiel]

Vivaldi violin concertos. More of 'em.

Concerto in C major, RV 177
Concerto in D major, RV 212a



It's the same ensemble as in Volume IV, Il Pomo D'Oro. But a different soloist who also takes charge of proceedings. I came to love Riccardo Minasi's work in that other volume, but so far this one with Sinkovsky isn't on the same level. I don't know whether it's the choices of work (volume IV had some concertos with very distinct character) or whether the ritornello is just a little bit more heavy-handed - the start of RV 177 is certainly quite aggressive about the loud/soft contrasts.

The playing in the couple of slow movements thus far has been very nice, though. And generally the solo playing is good, with some very impressive cadenzas. It's not bad, I just had hopes that it would match the very high quality of Volume IV because it was the same ensemble.

[AnotherSpin]

That's a remarkable statement, to say the least

Our friend @Mandryka just tossed in this flashy metaphor like a smoke bomb so that the bad-sound cult wouldn't notice you slipping another Stockfisch love letter past them.

[Traverso]

Bach

  Cantata  26, BWV 26, "Ach Wie Flüchtig, Ach Wie Nichtig" - Ach Wie Flüchtig, Ach Wie Nichtig

Nowhere do the oboes chatter as merrily as in this recording. Thanks to the somewhat dry recording, this comes through very well.