What were you listening to? (CLOSED)

[Sid]

My newly acquired:

I've been listening to that one on and off for the past few weeks & it's been pure joy! I am familiar with one other recording, Heinz Hennig's earlier account now on the Alto label, which is for different forces (this is the nature of this work, interpretations are all different). Alessandrini's arrangement, which is one voice per part, is very intimate and detailed. This set also has, as a bonus, the organ version of the mighty Magnificat, one of the most astounding conclusions to any work which I have heard. The main version has a compliment of about 13 vocal soloists (no choir, they are both individually soloists and choir), the second version here recorded with organ and theorbo accompaniment only has about half of the vocalists of the earlier version (here the female vocalists get more of the juicy parts, the guys dominate the original larger version more). This work simply has it all - there's something in there for everyone, all tastes are catered for. It's not only a choral work, it also has elements of concerto, chamber and operatic music very skillfully blended into it. The structure of the first part alternates between psalm settings for the combined group with concertos for vocal & instrumental soloists. The concertos involve the guys singing adorations to the virgin, but this is no saintly adoration, this is very passionate, bordering on wooing her. Each concerto gets more complex as things go on - some of the last ones have this "echo" effect that returns at the conclusion of the whole work. The whole thing is like a coral reef, it builds up layer by layer. The second half opens with a sonata, which is kind of a "breather" for the vocalists, and also less intense perhaps for the audience - the vocal writing is less complex in this sonata, it's the instrumenals which are more challenging and complex. Then a soulful setting of the hymn Ave Maris Stella, which is so spiritual and uplifting - but not too much, because the best is yet to come. The concluding Magnificat which blend all elements that went on before - virtuoso writing for choir, instrumentalists and vocal soloists - is so breathtaking it's beyond words. It's basically the most emotional music that I have ever heard in my almost 30 years of listening to classical music of many types, styles and eras.

Monteverdi was one of the few composers who could not only put his emotions into the music, but reach out and touch future generations of listeners many centuries ahead of him. After the premiere of this work in St. Mark's Venice, there were some grumblings from the conservatives who disliked it's dissonance in particular - said these sounds were only appropriate in secular and not sacred music. But they were ignored, the public flocked the churches to hear this, they "voted with their feet." After 500 years, this is still one of the most popular works in the repertoire, and it has been loved by experts and novices in classical music in equal measure. The beautiful concerto "Nigra Sum" - a song to the icon of the Black Virgin - has been as popular in Italy throughout the ages as have the big opera hits of guys like Rossini, Verdi, Puccini, and other post 1800 composers like them. Last year upon it's 500th anniversary, the world really embraced this great work - there were even a number of complete performances of the Vespers last year here in Sydney (which I missed, I didn't know the work, I kind of didn't feel "ready" but should a performance come up again, I'll be the first one to go!!!). A friend of mine went and saw it without knowing it, and she was just gobsmacked. She even got a recording of it as a Christmas present that year, how good is that!

Enjoy & tell us what you think about it after you hear it!...

[Lethevich]

Hey Sarah, what are your thoughts on this recording. I think it's perfunctory, but my opinion may be a little biased. Anyway, I think both La course de printemps and Le buisson ardent were exquisitely performed and Holliger knows this music really well.

I tend to find myself getting lost at some point during La course de printemps, and this time is no different - perhaps strange, as I enjoy Delius, and this music has rather more twists and turns than that composer is known for. The recording does sound freakishly good, ideal for bringing out the strangeness of the orchestration - it has the pointalism of neoclassicism at times (little ringing brass fanfares that halt almost mid-phrase as the orchestra makes a directional shift), then more lyrical and sustained sections which none the less have their own sharp swerves. Music like this reminds me why I like works such as Mathias' first symphony - very bright and vital, although when presented in such long one-movement structures I have yet to really "get" the piece. A few judicious index points would do wonders. My favourite part remains the nocturnal last half-dozen minutes, where the music makes one abrupt, final shift, then with an unexpected commitment just oozes sustained piano-level orchestral lines like it's bleeding after being chased for miles

[Mirror Image]

I tend to find myself getting lost at some point during La course de printemps, and this time is no different - perhaps strange, as I enjoy Delius, and this music has rather more twists and turns than that composer is known for. The recording does sound freakishly good, ideal for bringing out the strangeness of the orchestration - it has the pointalism of neoclassicism at times (little ringing brass fanfares that halt almost mid-phrase as the orchestra makes a directional shift), then more lyrical and sustained sections which none the less have their own sharp swerves. Music like this reminds me why I like works such as Mathias' first symphony - very bright and vital, although when presented in such long one-movement structures I have yet to really "get" the piece. A few judicious index points would do wonders. My favourite part remains the nocturnal last half-dozen minutes, where the music makes one abrupt, final shift, then with an unexpected commitment just oozes sustained piano-level orchestral lines like it's bleeding after being chased for miles

Very descriptive. Long single movement works never bothered me, I mean look at Sibelius' tone poems, especially a work like Tapiola. Anyway, I'm glad you made the plunge into Koechlin's sound-world at least in these two works. Have you listened to Le buisson ardent yet? It's in two parts of course.

By the way, perfunctory was the wrong adjective in describing this recording. I was so overwhelmed with joy when I saw you list this recording that I clumsily typed a message to you, but I fixed the slip-up.

P.S. Is this the only Koechlin recording you own?

[Lethevich]

I have the CPO piano disc with Paysages et marines, the Chandos' Stott Heurs disc, and the Hänssler "vocal works with orchestra" 2CD. I also have digital copies of some others but I'd need to hear them more before I commit to any more purchases - I might also have to convince myself as to whether I don't want to pick up more of the piano music first, I am slightly addicted to it.

Le buisson ardent is playing atm, I initially felt that it had a languorous feel to it (in the positive sense - the word is used too negatively), but the woodwind lines at the start of part 2 had a curious effect of the clarity of stasis rather than wallowing. The recorded sound really helps with music like this, it must be absolutely interminable if muffled.

[Mirror Image]

I have the CPO piano disc with Paysages et marines, the Chandos' Stott Heurs disc, and the Hänssler "vocal works with orchestra" 2CD. I also have digital copies of some others but I'd need to hear them more before I commit to any more purchases - I might also have to convince myself as to whether I don't want to pick up more of the piano music first, I am slightly addicted to it.

Le buisson ardent is playing atm, I initially felt that it had a languorous feel to it (in the positive sense - the word is used too negatively), but the woodwind lines at the start of part 2 had a curious effect of the clarity of stasis rather than wallowing. The recorded sound really helps with music like this, it must be absolutely interminable if muffled.

Excellent. I'm glad you're familiar with Koechlin's music as he's been swept under the rug for too long I think. Yes, you're right about the audio quality. It has to have great clarity or else the listener will miss some harmonic shadings that are subtle, but integral to the music. Another interesting aspect of this music, for me, is that the music is more focused than I thought was going to be. Koechlin knew exactly what he was doing, he was a notable student of Massenet and Faure, so with his training and keen ear for unusual textures, his music remains a new discovery each time I sit down to listen to his music.

[Que]

 

Roberday's most famous work is Fugues et caprices, a collection of organ pieces published in 1660 in Paris. The collection includes twelve four-voice fugues, of which numbers 1, 2, 3, 6, 8 and 9 are paired with caprices, fast-paced pieces based on the subjects of their corresponding fugues. These too feature four-part counterpoint, although slightly less complex than that in the fugues. The fugues use subjects with extensive usage of longer note values, which are modified in the caprices to better suit their fast tempi. Many of the pieces feature multiple sections, with a few double fugues and some variation fugues present.

The collection shows considerable Italian influence and many of the pieces are based on themes from miscellaneous composers of the era, including Girolamo Frescobaldi, Louis Couperin, Jean-Henri d'Anglebert, Johann Jakob Froberger, Francesco Cavalli and others. Some researchers (notably Jordi Savall) regard Fugues et caprices as an important precursor to Johann Sebastian Bach's The Art of Fugue. Since the pieces of the collection are non-liturgical, they make Roberday one of the last composers of the French polyphonic tradition. [Wikipedia]

The works by Roberday are alternated by viol music, some with organ accompaniment, by Louis Couperin, performed by a favourite ensemble of mine: Fretwork. The organ is an old beloved friend as well: it's the organ of the Abbaye de Saint-Michel-en-Thiérache, built by Jean Boizard in 1714.

Morning.

Q

[Lethevich]

Somebody uploaded the piece I am currently listening to onto Youtube - how nice of them.

http://www.youtube.com/v/bG3BJoDDKjY

The first piece (the opening two minutes) is such a remarkable thing, the combination of the grave and shimmering, echoes of Debussy and yet something more stark than that composer would consider - it grabs me from the first note.

[Mirror Image]

Somebody uploaded the piece I am currently listening to onto Youtube - how nice of them.

http://www.youtube.com/v/bG3BJoDDKjY

The first piece (the opening two minutes) is such a remarkable thing, the combination of the grave and shimmering, echoes of Debussy and yet something more stark than that composer would consider - it grabs me from the first note.

I'll have to take a listen to some of Koechlin's solo piano works at some point. I'm usually not that much into solo piano at all, but there have been a few pieces by Debussy, Ravel, Bartok, and Villa-Lobos that I've really enjoyed.

[Sid]

The works by Roberday are alternated by viol music, some with organ accompaniment, by Louis Couperin, performed by a favourite ensemble of mine: Fretwork. The organ is an old beloved friend as well: it's the organ of the Abbaye de Saint-Michel-en-Thiérache, built by Jean Boizard in 1714...

Roberday's music sounds interteresting. I like organ music, particularly the French repertoire. Re the Couperins - I have a 2 disc set of Francois Couperin's 2 organ masses played by Dame Gillian Weir. Unlike some other organ music of that time, it's very light and elegant (not top-heavy at all). It's such a great work that there is no need in it for other musical instruments or voices. Couperin does the job entirely with the one instrument. This is very unique. I'm amazed at how Couperin could do this without the full complement of orchestra, choir, soloists. Some of his harmonies sound so modern and fresh to my ears. That's the only music I've got by him so far, and I enjoy it a lot (I haven't heard anything by the other Couperin yet)...

[EDIT - correction from Judith to Gillian Weir]

[Sid]

Last night, listened to two new acquisitions -

Album: Chants sacrés de l'Orient (tradition melchite)
Sister Marie Keyrouz, arrangements & solo vocals
Accompaniment by male choir "de la Paix"
HM label

MONTEVERDI
Duets & solos, secular and sacred fragments
Emma Kirkby, Evelyn Tubb, sopranos
Consort of Musicke/Anthony Rooley
Alto label

Sister Keyrouz's album is simply breathtaking! This music is haunting, technically complex, emotional, to name just three aspects. These are her arrangements of early Christian music, most of it in veneration of the Virgin Mary, from the Middle East. This album has won both the Choc and Diapason d'or awards in France, which are the recording world's highest accolades. Sister Keyrouz has an enormous vocal range - 2 and a quarter octaves - which she uses in such a subtle and unique way. The male choir sing repetitive drones (echoes in cycles of 6 or 8 ) which form this hypnotic background to her ever changing filigree ornamentations. I told a work colleague about this, who was an organ scholar many decades ago, and she has given me the money to get her a copy. Like me, she likes virtually all types of classical music. She was astounded by my description. I basically think that anyone with a medium to advanced interest in classical music generally should listen to this. It's as timeless as any of the great classics, yet most of this music is anyonymous. We might not know who composed most of these songs, but they must have been very emotional men to have produced gems like this.

The Monteverdi collection was no less astounding. Half of the disc has secular works like madrigals and operatic fragments, the other half sacred works. Penelope's Lament from the opera Ulysses just went so deep. Monteverdi was a genius at bringing the text to life - eg. if the women sing about cymbals clashing, then their voices and the instruments sound like that instrument, but there's not a cymbal in sight! It's the same with images of nature or animals. This reminds me of the part in Stravinsky's Symphony of Psalms when the choir sings about the same thing - cymbals clashing - but it's all in their voices, not in the accompaniment. Both Stravinsky and Monteverdi were highly emotionally sensitive men, and they knew that sometimes "less is more." On this disc, Evelyn has the higher soprano voice, Emma has the lower one. This disc, at budget price, is a nice intro to a variety of Monteverdi's vocal works. The explanatory notes are good, and full translations are provided of the original texts...

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[Rinaldo]

Tristan Perich (of 1-bit Symphony fame). He's a cross between Reich, Riley and a SID chip, often venturing into sound art (or whatever it's called). Currently listening to All Possible Paths (mp3).

[karlhenning]

Rued in the Morning:

Langgaard
Symphony № 14, Morgenen (The Morning) BVN 336 (1947-48. Final version 1951)
Danish National Radio Symphony Orchestra & Choir
Schnwandt

[Mn Dave]

Good morning.
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[karlhenning]

G'day, Dave!

I've got Book I with Sergei Schepkin (piano) & both books with Christiane Jaccottet (harpsichord). You'd like 'em. But, yes, enjoy the Tureck! : )

[Mn Dave]

G'day, Dave!

I've got Book I with Sergei Schepkin (piano) & both books with Christiane Jaccottet (harpsichord). You'd like 'em. But, yes, enjoy the Tureck! : )

Yes, Don was right about this one.

[Antoine Marchand]

Just landed yesterday:



I listened to the disc 5 (harpsichord partitas 1, 2 & 4) two times. I think Kirkpatrick will be a hard nut to crack, at least more difficult than Leonhardt's and Walcha's discs (not difficult at all, indeed) from approximately the same time. It's curious because Kirkpatrick's style sounds (I repeat I have just heard one disc) like a strange mix of mechanical and idiosyncratic decisions, always a bit hectic... like a sort of roll piano. Anyway, some highly enjoyable passages here and there, especially during the second partita.     

[karlhenning]

Last night, another first listen:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Stuttgart Radio Symphony Orchestra
Holliger

[asin]B000EQICCI[/asin]

And now, again:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Kathryn Stott

[asin]B00008WQBA[/asin]

[Mn Dave]

Now:
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[Lethevich]

Last night, another first listen:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Stuttgart Radio Symphony Orchestra
Holliger

And now, again:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Kathryn Stott

I would love to hear these together, but I know that I lack the concentration to retain the shape of a 60+ minute piece to be able to compare to the second version afterwards. I have an *ahem* illicit copy of the orchestration, and have been tempted to play the piano and orchestrated version of every piece in order, back-to-back.

[Mirror Image]

Last night, another first listen:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Stuttgart Radio Symphony Orchestra
Holliger

[asin]B000EQICCI[/asin]

And now, again:

Koechlin
Les heures persanes, Opus 65 (1913-19)
Kathryn Stott

[asin]B00008WQBA[/asin]

Excellent Karl, what are your impressions of the works?