What were you listening to? (CLOSED)

[SonicMan46]

Avison, Charles (1709-1770) - Concertos, Op. 3 & 4 - excellent 2-CD offerning on Naxos w/ the Avison Ensemble & Pavlo Beznosiuk on the violin - this composer is completely new to me, but from the liner notes by Mark Knoll, he was considered the 'greatest composer of orchestral concertos from England' - he was from Newcastle-upon-Tyne, but at 15 y/o he travelled to London and studied w/ the great Italian violinist Francesco Geminiani, so these compositions are in the Italian Concerto Grossi fashion, and are just excellent! Avison even criticized Handel as not being as good in this repertoire as his mentor - hmmm! Give this a try - you can't beat the price! 

I've not listen to the Hyperion offering yet, but Bill (i.e. Bogey) was impressed, so I'm looking forward to that experience in the next day or so - 

 

[Brian]

Atterberg:  Symphony #1 Rasilainen/Frankfurt Radio Symphony Orchestra

I like this....

Do tell more.    I have and enjoy Atterberg's fun but unspectacular Violin Concerto, but haven't dabbled in his symphonies ... yet.

[PaulR]

Do tell more.    I have and enjoy Atterberg's fun but unspectacular Violin Concerto, but haven't dabbled in his symphonies ... yet.

I'm not that good at explaining stuff, so sorry if I make no sense.  This is my second time listening to the first Symphony.  The first time, I thought it was "nice" But nothing really spectacular.  This time though, I like it, it's not just "Nice".  I like the melodies, and the energy to it.  I just think it's a beautiful work....

Now to his fourth Symphony...with the same forces

[Lilas Pastia]

Good coupling, and both performances certainly whip up a fair level of excitement, though I don't count myself as wholly convinced by either. I find the Bruckner too choppily phrased for my taste (I guess I'm looking for more of a legato line and long-breathed phrasing), while I don't think the Hartmann quite matches the RIAS/Fricsay for rhythmic articulation or long-term structural control.

Edward, I'm not a Hartmann expert, but some who have listened to just about every Hartmann record out there swear by that Leitner 6th. As for the Bruckner, this one is my own favourite along with Bongartz. I also love Stein, Keilberth, Kegel and a dozen others, but Leitner is so natural in his phrasing (chopped? ) that it silences criticism 0:). However, for the qualities you look for, Leitner's own later recording with the Basel Orchestra should be your ticket. The various Jochums (3) also flow very nicely, if rather impulsively in places.

[George]

Tchaikovsky

Manfred Symphony

Svetlanov / USSR SO

Enjoyable, though not as dramatic or beautiful as I'd hoped. (Not sure if it's the work or the performance)

[not edward]

Edward, I'm not a Hartmann expert, but some who have listened to just about every Hartmann record out there swear by that Leitner 6th. As for the Bruckner, this one is my own favourite along with Bongartz. I also love Stein, Keilberth, Kegel and a dozen others, but Leitner is so natural in his phrasing (chopped? ) that it silences criticism 0:). However, for the qualities you look for, Leitner's own later recording with the Basel Orchestra should be your ticket. The various Jochums (3) also flow very nicely, if rather impulsively in places.

I need to get hold of a few more Bruckner 6s, so thanks for the suggestions: I think this is a symphony I'd love to have heard Giulini in, but I'm not aware of any recordings (did he even conduct it at all?).

As for the Hartmann, I'd still place Leitner in a runner-up spot behind the Fricsay (which rarely seems to get mentioned when people talk about this symphony) -- I do also like Kubelik, but don't think much of Metzmacher or Botstein, neither of whom I think understand the piece very well. I should probably get hold of the Kegel, and am keeping an eye out for the live Scherchen (Hartmann's teacher, after all), which apparently gets through the finale in a fraction over 10 minutes....yikes!

I've just been listening to a couple of Claudio Abbado's mixed-composer themed discs with the BP:




I really enjoy these discs, in part because of the performances, in part because they mix music I would naturally listen to with that which I'd usually not.

[Lilas Pastia]

Of all Bruckner symphonies, I think the 6th would indeed have suited Giulini to a T. The adagio was made for his special talents.

[Wanderer]

Harnoncourt's traversal of Mozart's sacred music is most impressive; vibrant, vigorous performances with excellent soloists and impeccable taste and feel for the music. Not a dull moment even among the obscure early works.

[Wanderer]

Bychkov is a great DSch conductor

Indeed he is. And Glanert's Theatrum bestiarum is such an exhilarating work!

I really enjoy these discs, in part because of the performances, in part because they mix music I would naturally listen to with that which I'd usually not.

The Argerich/Abbado Prometheus is one of my favourite versions, with the exception of the chorus. Argerich is truly impressive here.
The Nono piece, though...

Which works are on the first CD, Edward?

[Harry]

Harnoncourt's traversal of Mozart's sacred music is most impressive; vibrant, vigorous performances with excellent soloists and impeccable taste and feel for the music. Not a dull moment even among the obscure early works.

I simply admire your journey through this box Tasos, no offence meant my friend.

[Opus106]

Mozart's String Quartet No.15, K.421

I have discovered that I really like every major work written by Mozart in the key of D minor.

This quartet
PC No.20
Requiem

[Harry]

Beethoven.
Piano Sonata, No. 4, in E flat major, opus 7.
Yukio Yokoyama, Piano.

A lucid and again straightforward account, a bit anemic rather.
The first movement "Allegro molto e con brio" is forcefully hammered out. No subtle nuances here to be found, but passionate, and sometimes brutally loud. Some gentleness would not have come amiss.
The second movement "Largo con gran espressione" is at times a barren proposition in the hands of Yokoyama. The "Espressione" is forced also in a circumspect "Largo". The "Espressione" is missing alltogether really. His attempt to bring in a bit of warmth and mystery and dignity, by stretching things into a endless legato is disturbing, and it leaves me rather cold. His placing certain accents, at key moments are rather artificial, or so it feels to me.
The following "Allegro" sounds almost like a "Fanfare" as played in a circus.
The last movement "Rondo: Poco allegretto e grazioso" is the most successfull of all his attempts, and 2:00 into the movement emerges what should have been there all the time, till 3:40, it says all. A fluid way of controlled passion, that makes rather good.
Yokoyama is a distached musician, not really into emotions played out when asked for. Not matter of fact but missing in emotional content.
Good sound.

[Harry]

Beethoven.
Piano Sonata, No. 5 in C minor, opus 10 No. 1.
Yukio Yokoyama, Piano.

Again the same characteristics as in the fourth sonata, opus 7.
A attempt to align his feelings to the music, and not succeeding at all.
The last movement comes off best, a flighty and brittle balance, from the bubbling "Prestissimo"
As a whole, the work has little to say, from this source.

[Harry]

Beethoven.
Piano Sonata No. 6 in F major opus 10. No. 2.
Yukio Yokoyama, Piano.

The first movement starts off in his usual fashion rather cold in approach, but lo and behold the second movement "Allegretto" makes perfect sense all of a sudden. Thoughtful, unforced, sparkling with mystery, and very openly played, without pressing to much.
And a wonderful third movement "Presto" makes me wide awake, and wondering. He can bring fun and warmth into the music, so why comes that up sporadic? Anyway the rendering of the F major is a surprise and a source of discovery, by all means...

[Harry]

Beethoven.
Piano Trio opus 1 No. 2 in G major.
Seraphin Trio.

As my encounter with the Seraphin Trio was very favourably, until now, I was very expectant what was following such a success, and am not disappointed. The follow up is a seamless one, for this trio gives you all the answers in respect to content, and committed performance. A well balanced intro heading into the "Allegro vivace" building up from the preceding "Adagio" is a beautiful evocation that sounds gently in my ear. And it flows very naturally into full fledged being, and proposes excellence to you, in gorgeously shaped notes of great significance and meaning. The second movement "Largo con espressivo" is a resting place for battered souls, for it will heal your stress into a gentle streaming bach, in which you flow without resistance, and garner free relaxation, to be greeted by the third movement "Scherzo, allegro, a stream of endless little notes tumbling over each other in great array, and a stream of gay followers, in tone, and then the great G major trio emerges from the Finale in great melodic victory, crowning the experience with a fanfare of concluding little steps towards a open ending making a path into the "Erzherzogtrio".

[Harry]

Beethoven.
Piano Trio opus 97 in B flat major, "Erzherzogtrio".
Seraphin Trio.

This is a trio well known and famous for its excellence from the bottomless well of Beethoven's genius.
So not much need to explain and tell about the gorgeous composition.
But about the performance would come in handy I am sure. Well if you are looking for a inexpensive and excellent performance, I would think you would not go wrong with this one, unless you would like a HIP performance that is. The Seraphin's make perfect sense of the work, and do not make wrong steps, or make bad decisions as you may hear in the third movement, well known "Andante cantabile", with a deeply yearning quality to it, that will move you almost to tears.
Good sound.

[Que]

Dear Que, I would plead for a thorough review, for I have my eyes on those ones too.....

No need to hesitate. I found the Schubert symphonies by Van Immerseel a true revelation. I think you'll like it, it has all the right ingredients: no lingering (but no crazy speeding either) and amazing transparency, though the orchestra doesn't sound "small" at all. I found the added transparency crucial for these works, as well as the timbres of the period instruments (same in Mozart) - especially the wood winds and brass. The rhythmic accents and tempi feel very natural - Van Immerseel does have an remarkable feel for the "Viennese touch".

I pictured the single CD issue - that is what I have: four single discs that came in a cardboard slipcase. Might be relevant for those interested in the technical aspects of the performances, which are extensively explained in the liner notes.

These are the currently available versions of the complete set:

 

Q

[Harry]

No need to hesitate. I found the Schubert symphonies by Van Immerseel a true revelation. I think you'll like it, it has all the right ingredients: no lingering (but no crazy speeding either) and amazing transparency, though the orchestra doesn't sound "small" at all. I found the added transparency crucial for these works, as well as the timbres of the period instruments (same in Mozart) - especially the wood winds and brass. The rhythmic accents and tempi feel very natural - Van Immerseel does have an remarkable feel for the "Viennese touch".

I pictured the single CD issue - that is what have: four single discs that came in a cardboard slipcase. Might be relevant for those interested in the technical aspects of the performances, which are extensively explained in the liner notes.

These are the currently available versions of the complete set:

 

Q

Thanks Que.
Are both sets the same or different performances, and since I want to purchase  a complete set which one would you advice?

[Que]

Thanks Que.
Are both sets the same or different performances, and since I want to purchase  a complete set which one would you advice?

There is only one recording, so there can't by any differnce there. The picture on the left I know is an issue by Sony France, the second probably too, but of later date.

Q

[Harry]

Beethoven.
Piano Trio in B flat major Wo0 39.
Seraphin Trio.

One movement of utter delight, and makes you hungry for the parts that were not written, alas.