What were you listening to? (CLOSED)

[Lisztianwagner]

On BBC Radio 3:

Richard Wagner
Siegfried

Mime.....Gerhard Siegel (Tenor)
Siegfried.....Stefan Vinke (Tenor)
Wanderer (Wotan)..... Bryn Terfel (Bass-Baritone)
Alberich.....Wolfgang Koch (Baritone)
Fafner.....Eric Halfvarson (Bass)
Woodbird.....Sophie Bevan (Soprano)
Erda.....Maria Radner (Contralto)
Brünnhilde.....Susan Bullock (Soprano)
The Orchestra of The Royal Opera House
Conductor, Antonio Pappano

[Coopmv]

Now:

[asin]B00000425P[/asin]
Cockaigne Overture

Brilliant piece!

How do you like this twofer?  I got mine last year and have had only one listen so far ...

[The new erato]

The cover looks so gaaaay!!
What about the music?

I don't know anything of what gay music sounds like. Considered as music though, it is Handel - class.

[Karl Henning]

An at-times-Ivesian mélange. Good fun.

http://www.youtube.com/v/aMCUuSIHG5Y

[North Star]

First-listen Sunday
Britten
War Requiem
Rattle
[asin]B001O5ZNY8[/asin]

[madaboutmahler]

How do you like this twofer?  I got mine last year and have had only one listen so far ...

I really love these performances, and return to them regularly. I would say these are probably the Elgar performances I listen to most often, along with Lenny's Enigma. The performances are so full of energy, enthusiasm and brilliance, but I don't find them to lack in magic or subtle beauty either. Really great performances in my opinion!

[Que]

After this:



Disc 12

Symphonies nos. 33 (K.319) and 34 (K.338), Posthorn Serenade K.320.

I'm listening to this:

[asin]B003E83QSS[/asin]

Read more HERE.

Q

[Gurn Blanston]

After this:



Disc 12

Symphonies nos. 33 (K.319) and 34 (K.338), Posthorn Serenade K.320.

I'm listening to this:

[asin]B003E83QSS[/asin]

Read more HERE.

Q

As a point of interest, the movements that are left over from serenades, after Mozart extracted a symphony from them, were then used to make a concerto with. For example, 167a/185 Andretter Serenade in D yields a symphony (found on Hogwood) and a violin concerto (found on a disk by Jaap Schröder et al on Seon).  This was how Leopold taught Mozart to maximize his gain. Of course, Wolfgang never saw a kreutzer of it since Leopold was a first class thief. So it goes.

For me;



Moving along now with this one, Kubelik doing his usual masterful job.

"O Freunde, nicht diese Töne...'

[Brahmsian]

Haydn

String Quartets, Op. 50; 1-6 "Prussian"

Kodaly Quartet

Naxos

[Sadko]

César Franck

CD 1:

Trio Nr. 1 Fis-dur op. 1
Trio Nr. 2 op. 1 (Trio de salon)
Grand Duo B-dur op. 14
Andantino quietoso Es-dur (für Violine und Klavier)

Mariana Sirbu (violin)
Mihai Dancila (cello)
Mihail Sarbu (piano)

Very nice! I should explore Franck's chamber music more.

[Sergeant Rock]

After almost nothing but Mahler 1 for the last two days, finally some Haydn    98 B flat, Szell, Cleveland




Sarge

[Marc]

The channel separation and the sharp sound does not bother me, but as I commented some time ago, I find Frydén´s excessive vibrato annoying and too oldfashioned, considering the fact that he is playing a PI. Leonhardt on the other hand is - not surprisingly - pure pleasure. A pity that Leonhardt did not teach Frydén how to play or chose his own wife as a partner.

I did a search and found you and Antoine/Gordon [or al ] talking about this issue in this same thread, September 2011.

Well, yes, one can say that it's a pity about Frydén, OTOH this recording remains a historic worthwhile production from the pioneering HIP period, where already entirely convinced and skilled HIP-performers made music with half or less convinced and skilled turncoats .

The same goes f.i. for discs with vocalists like soprano Elly Ameling, who probably had (far) too much vibrato for armoured HIPpies, but whose recordings with f.i. Collegium Aureum I still very much enjoy.

Besides all that, Leonhardt had another go at these sonatas some ten years later with armoured Sigiswald Kuijken, a recording that made, makes and will make every HIPpy very happy, I'm sure.

[Que]

As a point of interest, the movements that are left over from serenades, after Mozart extracted a symphony from them, were then used to make a concerto with. For example, 167a/185 Andretter Serenade in D yields a symphony (found on Hogwood) and a violin concerto (found on a disk by Jaap Schröder et al on Seon).  This was how Leopold taught Mozart to maximize his gain. Of course, Wolfgang never saw a kreutzer of it since Leopold was a first class thief. So it goes.

I see. Thanks for enlightening me on this musical background!

As for Leopold, who must have been a very ambitious and vain man: parents living off their talented children is of all times, it seems... 

Q

[madaboutmahler]

Now:

[asin]B0000042HY[/asin]
Symphonic Dances

Such a great piece!

[Lisztianwagner]

Now:

[asin]B0000042HY[/asin]
Symphonic Dances

Such a great piece!

*pounds the table*

Ashkenazy's performance is absolutely awesome!

[madaboutmahler]

*pounds the table*

Ashkenazy's performance is absolutely awesome!

Completely! An incredible performance of this great piece, apart from the fact that Ashkenazy does not let the tam tam ring in the last bar!!!!

[TheGSMoeller]

Ives: Symphony No.4
Litton/Dallas SO

[TheGSMoeller]

Haydn: Symphony No.97
Koopman/Amsterdam Baroque O.

[listener]

WIDOR   Organ symphony no.9  - "Gothique"  op. 79
VIERNE     Messe Basse  op. 30
Marie Andrée Morisset-Baller,    organ at St.  Ouen, Rouen
resonant cathedral sound but clear.
MOZART:   Piano Concertos  17 in G, K.453  27 in B^b, K.595
Walter Klien, piano    Minnesota Orchestra     Stanislaw Skrowaczewski, cond.
The theme for the variations in no.17  is one of the most naïve sounding,  but becomes an ear-bug, you just can't get rid of it.   

[Coopmv]

Now playing CD1 from the following twofer, another recent arrival for a first listen ...