What were you listening to? (CLOSED)

[Harry]

Funny that the fourth movement by Taneyev third symphony is played as a Allegro vivace alla Marcia, whilst it should be Allegro con Brio!
Maybe he switched the tempi indocation from movement 2 to 4 and vice versa.....

[Harry]

Taneyev.
Symphony No. 1 in e minor. (1874)
Novosibirsk Academic SO/Thomas Sanderling.

Well this is going the same way as the third symphony, with the same flaws.
So my advice is steer clear of this recording, its not worth the modest outlay

[Todd]

Paavo Jarvi's second installment of his LvB symphony cycle.  It's better than the first.  Both are swift, energetic, and nimble.  The chamber orchestra of course means the sound is lightweight compared to a full orchestra, but it doesn't hurt as much here as in the Eroica.  Perhaps Jaarvi doesn't delve much below the surface at times, especially in slow movements, but that's quibble.  Top-flight playing by the band and SOTA sound.

[J.Z. Herrenberg]

Well what about his fantastic Symphonies?
I bought this box on CPO, and still marvel about it.

I have listened to a few of them, Harry. They are passionate and colourful. But the orchestra sounds a bit too light for me, and ragged. I prefer solidity. That's why I like people like Langgaard and Alfvén - they have a powerful bass under all that colour, melody and emotion. Atterberg sounds less 'rooted', if you know what I mean. But I'll be listening to him again, the coming weeks, just to check...

I see from your comments in the RVW thread that you've been converted! I think I'll give it a try too.

And, Sarge - did the heavens open?!

[Sergeant Rock]

And, Sarge - did the heavens open?!

Unfortunately, no    It's still eluding me... The Romanza was as moving as ever but the other three movements... I'm listening to my new Brahms piano quartet CD right now but I plan to listen to the symphony again this evening. I'll try another version (I have Haitink, Handley, Norrington and Menuhin besides Boult).

Sarge

[Harry]

I have listened to a few of them, Harry. They are passionate and colourful. But the orchestra sounds a bit too light for me, and ragged. I prefer solidity. That's why I like people like Langgaard and Alfvén - they have a powerful bass under all that colour, melody and emotion. Atterberg sounds less 'rooted', if you know what I mean. But I'll be listening to him again, the coming weeks, just to check...

The Orchestra sounds like that?
We have to compare notes my friend, for this orchestra belongs to the best in Europe, and the conductor knows the symphonies very well.
Refined, deeply rooted, not at all ragged. I have heard them on many different hifi equipment, but never did I miss solidity, so you have me really confused.
I will listen to a few of them, but my listening notes of last year leave no doubt actually in these points.
Alfven is often wrecked by badly instructed Orchestras. Neither Bis nor Naxos did well in that respect, allthough I have to re hear the Jarvi.
Langgaard is until now unknown territory for me.

[J.Z. Herrenberg]

The Orchestra sounds like that?
We have to compare notes my friend, for this orchestra belongs to the best in Europe, and the conductor knows the symphonies very well.
Refined, deeply rooted, not at all ragged. I have heard them on many different hifi equipment, but never did I miss solidity, so you have me really confused.
I will listen to a few of them, but my listening notes of last year leave no doubt actually in these points.
Alfven is often wrecked by badly instructed Orchestras. Neither Bis nor Naxos did well in that respect, allthough i have to re hear the Jarvi.
Langgaard is until now unknown territory for me.

I have to be more precise - it's the way Atterberg writes for the orchestra which I don't yet take too. I like a certain roundness and warmth - Brian, Strauss, Alfvén, Langgaard, Magnard, Vermeulen, Vaughan Williams, Brahms...

[Harry]

Beethoven.
Symphony no. 4 in b flat major.
The London classical Players/Roger Norrington.

The first movement thunders into my listening room with a perfect drive and intensity. A true Adagio-Allegro Vivace. Riveting stuff.
The strings sing literally, and the winds sounds as fresh as the morning sun in Spring. And the timpani, well wood, and so clear, as well as the brass, crisp and articulate! This performance is as fresh and valid as the day it was recorded, and has lost nothing of the message it tells us, despite Gardiner/Hogwood/Zinman/Karajan.
The Adagio could be faster, but it is perfectly judged by Norrington, and he makes a lovely con brio, almost allegretto jilt matched to the Adagio.
It gains in strenght with every measure, and every note, with the Clarinets singing softly their fine tunes. Its a see through movement, pure, and honest in its presentation. And the descending scales around 3:35, strings brass, the sensuous sounds of the winds are so convincing.
The third movement is the weakest in this symphony, it clearly lacks enough drive, and has no solidity in Beethoven roots.
The Fourth movement opens crisp enough, and the pouncing of strings wind and timpani is enough to chase away the remnants of the third movement.
Accelerating explosive power, raw and exhilaratingly, telling a story of the mighty Beethoven, knocking at heavens doors.
A absolute winner for me. Bravo I say.......

[Harry]

I have to be more precise - it's the way Atterberg writes for the orchestra which I don't yet take too.

Blimey, you did frighten me you know....
Okay that part of not getting to grips with the writing I understand better....
Pffffffffffffffffff

[J.Z. Herrenberg]

Blimey, you did frighten me you know....
Okay that part of not getting to grips with the writing I understand better....
Pffffffffffffffffff

Sorry - I didn't mean to terrorise Eelde. 

[J.Z. Herrenberg]

Unfortunately, no    It's still eluding me... The Romanza was as moving as ever but the other three movements... I'm listening to my new Brahms piano quartet CD right now but I plan to listen to the symphony again this evening. I'll try another version (I have Haitink, Handley, Norrington and Menhuin besides Boult).

Well, those things take time... The difficulty of the work lies in its poetic understatedness. It's also quite abstract. It doesn't embody the work in instantly appealing themes, as you have in other VW symphonies. What you get is a very tense clash of atmospheres, of modal vs. tonal. Once you get that, you start to appreciate what's going on. And what you also realise then is that other VW symphonies are almost rough in comparison. The Fifth is like a hermetic poem, once you have cracked it, its greatness is undeniable.

It took me until now to grasp that...

[Harry]

Thomas Tallis.
Music for the Divine Office I.
Chapelle du Roi/Alistair Dixon.

Rerun 2, disc IV.

The second hearing confirms me, that this set is a no brainer, if you want the complete works of this composer.
I cannot find fault with it, not serious enough to mention, or what should withhold you from buying it.

[Hector]

In the car on CD Beethoven's 2nd and 8th Symphonies on an ageing (I've had these years) EMI Eminence of the London Classical players under Norrington.

These are outstanding performances and the 8th is played as it should be: fast as possible, with clarity and rhythmic flexibility.

Prizewinners!

I shall continue with my listening on and off during the rest of the day with 'Manon Lescaut' in a seventies EMI recording that included the distinctive Mady Mesple. The composer is Auber.

[Harry]

Sorry - I didn't mean to terrorise Eelde. 

I am defusing myself, and going to defcom 0 for Eelde.

[Harry]

In the car on CD Beethoven's 2nd and 8th Symphonies on an ageing (I've had these years) EMI Eminence of the London Classical players under Norrington.

These are outstanding performances and the 8th is played as it should be: fast as possible, with clarity and rhythmic flexibility.

Hear, hear!

[karlhenning]

Actually, fast as possible plus rhythmic flexibility does not sound musical at all 

[Brian]

Sergey Ivanovich Taneyev.

Symphony No. 3 in D minor. (1884)
Novosibirsk Academy SO/Thomas Sanderling.

Well I would like to say this is a wonderful performance, but it simply is not. It fails on many counts, actually almost all, that constitutes a good performance. The tempi are ill chosen, there is no real distinction between Sanderling's, Allegro con spirito, or a Allegro vivace, or con brio. No drive, no inspirational input. That has partly to do with Thomas Sanderling, who clearly has no clue, where the music should be headed. He is lost amongst the notes, and dutifully plods along a path, which is utterly unknown to him. The genial writing by Taneyev is nowhere to be found. The Orchestra shows no signs that it is any better a provincial orchestra filled with amateurs. So many details are missing in the strings, especially in the celli. The long legato treatment makes for dead ends, and there is no sharp turn anywhere, its as smooth as a shot of morphine, lethal to your senses. The recording is so, so. Woolly, and rather misty at times.
There was need for a new cycle of Taneyev's Symphonies, but this one should be avoided.

Thanks for this warning. I tried listening to this recording but found it insufferably boring, and now know that it was the poor performance, not a poor composition. Will be on the lookout for another Taneyev recording. 

[karlhenning]

Henning
Three Things That Begin with 'C'
the composer on clarinet
Peter Cama-Lekx, viola

[Sergeant Rock]

Well, those things take time... The difficulty of the work lies in its poetic understatedness...

Yes...but I'm thinking I need a more passionate interpretation; one that doesn't underscore that understatement quite as much. Perhaps Previn or Barbirolli would open up the symphony for me. In the meantime I'll listen to Menuhin and Handley this evening (I already know Norrington and Haitink are on the "cool" side and probably won't help me right now).

Sarge

[J.Z. Herrenberg]

Yes...but I'm thinking I need a more passionate interpretation; one that doesn't underscore that understatement quite as much. Perhaps Previn or Barbirolli would open up the symphony for me. In the meantime I'll listen to Menuhin and Handley this evening (I already know Norrington and Haitink are on the "cool" side and probably won't help me right now).

Sarge

Well, Thomson convinced me, but I don't know how to rate him, cool or passionate, as I haven't compared him yet. Good luck with Menuhin and Handley!