What were you listening to? (CLOSED)

[karlhenning]

Listening to the Second Symphony. The music has enormous drive and colour. The Adagio sings its (slightly cinematic) heart out.

I've got that one, Johan; both pieces are beautiful.

[12tone.]

Listening to the Second Symphony. The music has enormous drive and colour. The Adagio sings its (slightly cinematic) heart out.

Is it kind of Spanish?  Just a guess...

[Solitary Wanderer]

[George]

Prokofiev: Symphony No. 3;  Symphony No. 1 "Classical Symphony"
Philadelphia Orchestra
Riccardo Muti, cond.
PHILIPS
I just wanted to hear an alternative No. 3 to the one in the Gergiev set I have;  I've read good things about this one.

I think that #3 crushes the Gergiev like a grape. 

[Brian]

I'm listening to Ulf Bjorlin's version of the Berwald symphonies (now on an EMI 3-for-the-price-of-1 set). Good but not great.

Hmm; so far I've been happy enough (Singuliere is very impressive on the home speaker system) but what would you recommend as an upgrade? I'm guessing Ehrling is tops...

[Solitary Wanderer]

Evocative of New Zealand's landscapes.

Wonderful home grown talent.

[not edward]

Hmm; so far I've been happy enough (Singuliere is very impressive on the home speaker system) but what would you recommend as an upgrade? I'm guessing Ehrling is tops...

I'd defer judgement to people who know more Berwald recordings than I do--I don't even have Ehrling--but I'm generally finding this a little less compelling than Kamu (and really need to relisten to Markevich in the Singuliere and so on and on and on).

The Bjorlin set is usefully comprehensive, though.

[greg]

Piano Sonata (21'56)
EXCELLENT

I wasn't sure i liked this CD....... oh well, i'll check it out again eventually.

[Monsieur Croche]

Good morning everyone!

Some stabs in the dark to start the day:

Steve Roden - Amnesia
Ned Bouhalassa - The Lighthouse
Eric Rocheleau - Shreds

[12tone.]

I have some vinyl going right now:

Mahler 5: Kubelik / Symphonie-Orchester Des Bayerischen Rundfunks

[12tone.]

Good morning everyone!

Some stabs in the dark to start the day:

Steve Roden - Amnesia
Ned Bouhalassa - The Lighthouse
Eric Rocheleau - Shreds

You can check out Steve Roden's artworks, soundworks and everything else at his home page here.

[Kullervo]

Piano Sonata (21'56)
EXCELLENT

Ooh, I've been meaning to get this.

[Lilas Pastia]

A mini Beethoven fest tonight. I listened to concert performances of the 5th and 6th symphonies under Szell, conducting the Chicago Symphony (1968) as well as a 1958 NYPO Karajan performance from Carnegie Hall

The Szell Pastorale is as good as any I've heard, although it doesn't displace my favourites (Walter and Böhm). It is never tense in I and II - and neither should it be, a fault that plagues many performances that are simply too fast for comfort, often making the massed violins sound shrill. Szell has the orchestra's low strings support the foundation with very firm tone and strict underpinning of the rythms, whereas the violas and violins carry the melodic argument in counterpoint with the winds. Classic and supremely well executed. The scherzo is not fast, but still very sturdy, the Storm opening with broad swathes of sound that gradually increase in volume and intensity until the orchestra litterally erupts, a truly awe-inspiring moment. The end (clouds receding in the distance) is sheer magic. Not for the firs ttime I found the finale a wee bit of a letdown. Very few conductors achieve the kind of relaxation and mellowness that are at the heart of the movement. But it does build to a superbly fervent climax.

The 5th is flat out the most exciting I have heard. By which I don't mean it's the best. But for sheer gripping drama and no holds barred sonic spectacle it's impossible to beat. The Chicago low strings once again 'sit' the performance so that it never once runs into slackness, something that regularly happens in II and the soft portions of III and IV. Szell builds up the first movement to a huge vortex of orchestral fury. II for once does not sound insipid. I'll skip further descriptio of the middle movements to arrive to the finale. This is where this performance distinguishes itself from any other I've heard, including Szell (Cleveland or Amsterdam) and Reiner in  Chicago. It is very excitingly paced but it broadens noticeably at nodal points, a very clever way to dissipate the enormous tension built up in those awesome climaxes, before he starts tightening up the screws again. The movement climaxes in a huge sonic release (slight broadening again) that sounds both triumphant and elated. It has a sense of arrival that is simply amazing. The audience does not wait for the last chord to finish before erupting in cheers.

I was not sure if I'd be hearing Karajan's 9th, or the NYPO's. I have no idea how many times (if ever) Karajan had conducted the New Yorkers before that 22.11.1958 concert. In any case, it was soon obvious that this was Karajan's well known interpretation in a very different sonic garb than in Berlin. In a very real sense it was both Karajan's and the NY Phil's show. Actually, I found the orchestral playing more interesting to hear than the maestro's interpretation, simply because I was unfamiliar with the first, whereas the second is a well known quantity. Soloists were Leontyne Price, Maureen Forrester, Leopold Simoneau and Norman Scott (first time I saw his name, let alone heard him). In any case, the performance was extremely fine, held together by a master conductor and played by a virtuoso orchestra of immense power and personality, and some very personable soloists (Price's singing was amazing).

The  sound in the Chicago concerts was surprisingly fine, the NY one ok, but with a couple of tape dropouts.

[Solitary Wanderer]

[M forever]

I was not sure if I'd be hearing Karajan's 9th, or the NYPO's. I have no idea how many times (if ever) Karajan had conducted the New Yorkers before that 22.11.1958 concert.

Karajan came to NY to guest conduct only once, in that year 1958, for 2 programs which were played on 4 evenings each. The first program was Mozart 41, 5 pieces for string orchestra by Webern and Ein Heldenleben. The second was Beethoven 1 and 9.

[DavidRoss]

Schubert, 9th symphony, Böhm/BP

I tend to think of him as "Beethoven lite."  From time to time I try, giving lightning a chance to strike, and I'm trying again.

[Lilas Pastia]

Karajan came to NY to guest conduct only once, in that year 1958, for 2 programs which were played on 4 evenings each. The first program was Mozart 41, 5 pieces for string orchestra by Webern and Ein Heldenleben. The second was Beethoven 1 and 9.

I had links to download these 2 concerts, but only did the LvB 9th. I wonder how much time it takes for a visiting conductor to have the chemistry work? Or for the transplant to be rejected  . I'm sure any professional orchestra can do well by a new conductor after a few rehearsals, but for something really special to happen, I suppose a minimum amount of collaboration must be required.

[M forever]

I tend to think of him as "Beethoven lite." 

A fundamental error. That explains why you have such a hard time getting into the music.

I had links to download these 2 concerts, but only did the LvB 9th. I wonder how much time it takes for a visiting conductor to have the chemistry work? Or for the transplant to be rejected  . I'm sure any professional orchestra can do well by a new conductor after a few rehearsals, but for something really special to happen, I suppose a minimum amount of collaboration must be required.

Not necessarily. Bernstein only conducted the BP once and the result was a very special concert. Kleiber only came twice to conduct them and the results were also very, very special both times. Supposing stuff like that doesn't really lead you anywhere. Just listen.

[Bogey]

Handel Italian Cantatas
Kirkby/Hogwood/The Usual Suspects
L'oiseau Lyre 

[DavidRoss]

A fundamental error. That explains why you have such a hard time getting into the music.

Not really.  I rather enjoy Schubert's music, but have rarely found it as compelling as the music of several other composers.  Regarding his symphonic music as "Beethoven lite" post-dates my exposure to it.  It could be that he's just not my cuppa--however, if you care to enlighten me as to how I ought regard him, then I'm willing to give it a shot.