What were you listening to? (CLOSED)

[Mirror Image]

Yes, I agree that Mennin stands out from the pack. Could you enlarge on your finding Schuman variable, Sara? I'm still making my way through his cycle, but so far I am mostly finding a reliable consistency ....

That's something I can definitely agree with, Karl. Schuman was consistent throughout his cycle. I'm still struggling a bit with the 9th symphony, but given it's subject matter, it's no wonder why it's a dark and gritty work. The more I listen to Schuman, the more I like his music. It just took some time to grow on me.

I received the Mennin recording of Symphonies 5 & 6 today, so I shall be digging into that one soon.

[coffee]

Just finished:

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And now:

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[classicalgeek]

The Atlanta Symphony for me too.  A rare chance to do some evening listening:

Arnold Schoenberg
Pelleas und Melisande
Yoel Levi; Atlanta SO
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Wallowing in Schoenberg's lush orchestration!   Nice recording, too.

[Willoughby earl of Itacarius]

Out of a pile that was waiting for me almost 3 years now, and which was not played at all, comes this fine Recorder music. Now, usually I am not that great a fan of the instrument, but this is a different kettle of fish altogether. Francesco Mancini, ( 1672-1737) a Neapolitan born composer, who was virtually unknown to me. I saw his name mentioned once in a while, but never heard music composed by him, until now. He seems to have been a very successful operatic composer of the 18th century Neapolitan school. His instrumental output though was minimal and therefore is a tiny part of his oeuvre.  The pieces recorded here are taken from a collection of twelve sonatas, which were published in London in 1724. There seems to have been a huge appetite for recorder music in 18th century London, and judging by the quality of these sonatas, Mancini was a virtual expert if it comes to the instrument, hearing his virtuoso writing, and I enjoyed them hugely. And that has partly to do with the fact that they are perfectly recorded on period instruments. On disc I are 6 of them all in four movements. The ensemble as yet unknown to me also Tripla Concordia, makes this a top quality recommendation, for what they deliver is pure joy. Lorenzo Cavasanti, is a wizard on the recorder, and he plays a lot of different instruments on this recording, which al sound gorgeous. Caroline Boersma play on a 17th century cello. ( Anon) and Sergio Ciomei, play on a Harpsichord by Tony Chinnery, Vicchio. No dates provided, and no info on which instrument it is based. It was recorded in 2009. Recommended.

[Conor71]

Elgar: Violin Concerto In B Minor, Op. 61


The Nige plays a blinder on this one I think! - he has another version which is meant to be even better than this..

[Willoughby earl of Itacarius]

A disc bought as far away as 2010, and only played once (3-9-2010) Only jotted down "Very good". Well I can affirm this impression, its indeed a gorgeous recording and performance all around. Tony Faulkner made a perfectly natural recording in 1987, which sounds as if it was recorded yesterday. Its certainly not "Background music" as Classic CD wants us make to believe. All the concerti, have a lot to say, and are well written.

Giovanni Paisiello. ( 1741-1816)
Harp Concerto in A major.
Jasna Corrado Merlak, Harp.

I did not know the soloist, but she has a fine tone, and plays this concerto in a beautiful lyrical tone.

Modeste Gretry. ( 1741-1813)
Flute Concerto in C major.
Marc Grauwels, Flute.

Also a unknown soloist to me, but he has a velvety tone, and plays with minimal vibrato. He excels in charming you with his playing.

John Garth. ( 1722-1810)
Cello Concerto No. 2 in B flat major.
Alexander Baillie, Cello.

A unknown composer and soloist for me. And by the sound of it, I would like more of this composer. The cello has an alluring tone, and is velvety. Played without useless frizzles, and that suits the composition well.

Carl Stamitz. ( 1746-1801)
Viola Concerto in D major, opus. 1.
Tabea Zimmermann, Viola.

Never heard this composition, but I love the works by this composer, so it was more than welcome. Its the longest of all the concerti on this disc, ( 21:20). Zimmermann is an able Viola player, also velvety, and lyrical, with a good sense of direction. Its the most difficult concerto on this CD to play, and she brings it off perfectly.
The Orchestra is getting along fine with all the different soloists, very well led by a unknown conductor, but he makes a good job of it too.

[The new erato]

John Garth. ( 1722-1810)
Cello Concerto No. 2 in B flat major.
Alexander Baillie, Cello.

A unknown composer and soloist for me. And by the sound of it, I would like more of this composer. The cello has an alluring tone, and is velvety. Played without useless frizzles, and that suits the composition well.

I recommend this disc; very good:

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[Willoughby earl of Itacarius]

I recommend this disc; very good:

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Thank you Erato, its on my wishlist.

[KeithW]

Elgar: Violin Concerto In B Minor, Op. 61


The Nige plays a blinder on this one I think! - he has another version which is meant to be even better than this..

That's right - this one with the LPO and Handley - and the following with Rattle and the CBSO - my favourite of the two,

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[The new erato]

That's right - this one with the LPO and Handley - and the following with Rattle and the CBSO - my favourite of the two,

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Ah that Nige; ever new looks and styles.

[Willoughby earl of Itacarius]

Joseph Joachim Raff. ( 1822-1882)

Symphony No. 1 in D major. "An das Vaterland".

On 12-11-2009, I wrote in detail about this Symphony, so I will not repeat myself. Suffice it to say that these performances are by far the best you will get of these Symphonies, as far as the ones recorded by others. There is no other complete set, just a few on CPO, and not needed either, for this set takes a lot of beating, before something better comes along. Its worthwhile to note that in the third movement a cello solo is played by Matthias Ranft, and well done it is, the movement itself is gorgeous too. Sound and performances is very good. If you need to know more in detail, PM me.

[Lethevich]

Yes, I agree that Mennin stands out from the pack. Could you enlarge on your finding Schuman variable, Sara? I'm still making my way through his cycle, but so far I am mostly finding a reliable consistency ....

Hmm, it's hard to describe, but with Schuman I get a sense of a composer writing with a very strong sense of his works being public rather than private statements, and sometimes, like in at least one of the late symphonies I've heard, there is a feeling that this impetus is lost and while the craft is superb the sense of purpose to the music seems to have gone. It left the music unable to grab me. Hanson may have been a better example, as some seem to think he trailed off and recycled a bit, but I very much enjoy his later symphonies.

[Karl Henning]

Schuman
Symphony № 8 (1962)
Seattle Symphony
Schwarz

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[Karl Henning]

Hmm, it's hard to describe, but with Schuman I get a sense of a composer writing with a very strong sense of his works being public rather than private statements, and sometimes, like in at least one of the late symphonies I've heard, there is a feeling that this impetus is lost and while the craft is superb the sense of purpose to the music seems to have gone. It left the music unable to grab me. Hanson may have been a better example, as some seem to think he trailed off and recycled a bit, but I very much enjoy his later symphonies.

Interesting, Sara; thanks for the response!

[Willoughby earl of Itacarius]

There are of course many complete cycles of Dvorak's Symphonies, and quite a few of them very good indeed. From the sets I have however, Otmar Suitner's take on them comes first, at least for me. He is the only one, that so carefully balances the dynamics in his orchestra, that all details suddenly emerge, previously unheard. All melody lines in all the desks are to be heard, nothing you will miss. And this is what makes them so special, and why he comes first in my collection. His unerring sense for the right tempi is another one, and his grasp of the melodious context is already legendary to my ears. Its like hearing the work for the first time, and being startled by details that pop up, were you did not expect anything to appear. Coupled with a fine recording this First Symphony, of which Dvorak did not think much in terms of quality, and which he dismissed as a sin of youth, the fact that we think much of it, proves Dvorak wrong. And I am happy he did not destroy the score as Dukas did for example, with so many of his works, and so deprave the world of good music.
I wrote more in detail in a previous review. ( 9-3-2010)

[Willoughby earl of Itacarius]

Alfred Schnittke is a acquired taste! You either like his work or not, but one should never start with the first Symphony, but rather save that for the last work to be played, and dip right into the second Symphony, which is the one playing now. Opening up with Gregorian vocals, it perfectly draws you into a sound world that is more Schnittke as his first radical Symphony. I love the religious feel that lies over it, like a all encompassing blanket. It means a lot to me, and has a lot to say. I would dare to state, that understanding it means the road is open to the rest of his orchestral works, without you stumble-ling  over the rest of the hurdles. Well that's my two cents any way. I wrote more in detail in a review of 22-4-2011, if interested. The recording and performance are very much to my liking. No complaints there.

Mikael Bellini, Counter Tenor.
Goran Eliasson, Tenor.
Malena Ernman, Alto.
Torkel Borelius, Bass.
Mikaeli Chamber Choir, Anders Eby.
Royal Stockholm PO, Leif Segerstam.

[Karl Henning]

Alfred Schnittke is a acquired taste! You either like his work or not, but one should never start with the first Symphony . . . .

Oh, I don't know . . . I've an idea that I started with the First Symphony (among the symphonies).

Or, I may misremember, of course

[TheGSMoeller]

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[Willoughby earl of Itacarius]

Oh, I don't know . . . I've an idea that I started with the First Symphony (among the symphonies).

Or, I may misremember, of course

Most of my musical friends never recovered from the first Symphony, and were disinclined to listen to any of his other symphonies. Based on that, prompted my writing. 

[Karl Henning]

A first listen (Tippett Tuesdays ? ? ?)

Tippett
String Quartet № 5 (1990-91)
The Lindsay String Quartet