What were you listening to? (CLOSED)

[Harry]

Small package -     today from Caiman - 6 CDs - this afternoon, 2 CDs on the player:

Albinoni, Tomaso - Trio Sonatas, Op. 1 w/ Parnassi musici - all period instruments (violins, cello, & harpsichord/organ) - twelve trios (full 78 mins) - CPO quality - love this group! 

Telemann, GP - Trio Sonatas - same group above + bassoon on 2 works; mostly TWV 42 - love these recordings, also - nice combo of discs! 

 

I agree Dave, both are of prime quality in all repects...

[matti]

Put aside your historical recording fear (not that it should bother you with this, it's balanced quite far forward and a little 'boxy', but nothing to worry about...), the intensity, virtuosity and musicianship combine to give quite an overwhelming performance.

I have always considered these works as perfect pieces for competitions, handy for the virtuosi as show-offs; handy for the jury as definitive thumbs down in case someone fails to deliver the required fireworks. But as real pieces of music... do I need to redonsider? I have Accardo fiddling away these pieces (now, though, collecting dust in the attic I guess) and I've never even considered buying another version.

[Mark]

I have always considered these works as perfect pieces for competitions, handy for the virtuosi as show-offs; handy for the jury as definitive thumbs down in case someone fails to deliver the required fireworks. But as real pieces of music... do I need to redonsider? I have Accardo fiddling away these pieces (now, though, collecting dust in the attic I guess) and I've never even considered buying another version.

I have only Ilya Kaler on Naxos. I say 'only' ... his performances utterly devastate me whenever I spin that tremendous disc. I like these works so much I'm almost afraid to buy another recording.

[Harry]

I like this recording for many reasons, Harry, aside from the fact that I have been a lifelong Arrau fan. I find it compelling, though, because Tchaikovsky was not Arrau's territory in the same way that Beethoven, Chopin, or Liszt were. The same is true of Accardo, whose Paganini prowess is legendary.

But, there is no disappointment here. Even at 76 when Arrau recorded this, the opening movement features his  trademark majestic pacing tempered with the more reflective playing, characteristic of his later years. But in the third movement, his agility knows no age as he reverts easily to an appropriate brisk tempo.

Accardo on the other hand was in his 30s when this was recorded. While his virtuosity clearly stands out, it is the warm, expressive passages that linger in the mind and ear the most. Both men had long collaborations with Sir Colin, and the integration with the orchestras is seamless, Arrau with the Boston and Accardo with the BBC.

As to the art, Harry, what can I say! Looks to me like a little bit of Photoshop going on here, but still appropriately romantic, given the genre of these pieces. All that is missing is the red rose. 

I enjoyed your thoughtfull response, in fact I am in awe........
Thank you

[Renfield]

Sometimes I am tempted to call the way I picture chords and certain combinations of instruments synaesthetic, but I don't think it's palpable enough, and I don't feel any reason to put a name to it. Synaesthesia seems to be something particularly attractive to have, like "Look at me, I am so sensitive."  I know a few people who claim to possess it, but I suspect they are lying.

Actually, I can fully understand your sentiments towards those claiming to be synaesthetes. However, it's also given thing that if you are a synaesthete, you can immediately tell if someone is faking it. Not to mention that most real synaesthetes tend to feel exceptionally guilty about their "ability", at least when they (we) first realise it's not something everyone has.

And even for me (given my more-than-a-layman's understanding of the phenomenon, if you might call it that), it still takes a few seconds to register that the opening of Bruckner's 8th is not crimson mist-clouds for everyone, or that the number 4 is, in fact, not naturally reminiscent of the colour green. And if I didn't grow up feeling odd to begin with, I might not have been as happy about it as to announce it so plainly.

But the "sensitive" factor is interesting, given how in most cases, the extra sensitivity often connected with synaesthesia (i.e. an elevated sensory acuteness, which I admit I do possess) creates a number of "complications" for its possessor. Like how I can't listen to music in the volume most people do. Last time I tried on anyone's headphones for a brief listen, I collapsed to the floor screaming. Not fun.


Currently listening to:



Trying to come to terms with the 1st and 4th concertos, from "the source". Somehow, neither of them have managed to "click" like the 2nd or 3rd, yet...

[matti]

I have only Ilya Kaler on Naxos. I say 'only' ... his performances utterly devastate me whenever I spin that tremendous disc. I like these works so much I'm almost afraid to buy another recording.

Fair enough, I'll fetch my Accardo disc from the attic and give him and the bats and Paganini another chance. I'm sure it was just me spoiling the fun. In other words it was not Accardo's or Paganini's fault that the whole lot of Caprices reminded me of Czerny.  

[orbital]

Currently listening to:



Trying to come to terms with the 1st and 4th concertos, from "the source". Somehow, neither of them have managed to "click" like the 2nd or 3rd, yet...

I think the case with the 1st is only normal, but the 4th (which was the composer's favorite according to a few sources) really gets under your skin not after a long while. Of course, now that I have not listened to it for almost a year, I don't remember the first thing about it  But that's me

[gmstudio]

[sidoze]

Gob-smacked by this, it's incredible:

electrifying isnt it? I had the same reaction first time I heard it.



not bad for Michelangeli  sound is superb too

[karlhenning]

I am listening to Milhaud - Six petites symphonies, L'homme et son désir, Piano Concerto No. 2 and Suite cisalpine (Kontarsky/Orchestra of Radio Luxembourg)

How do you like it, Corey?

[BachQ]

I have only Ilya Kaler on Naxos. I say 'only' ... his performances utterly devastate me whenever I spin that tremendous disc. I like these works so much I'm almost afraid to buy another recording.

........ you're afraid that you'll like it more, or like it less? ........

[Mark]

........ you're afraid that you'll like it more, or like it less? ........

More. No, less. Well ... both, actually.

I know. Perverse.

[Kullervo]

How do you like it, Corey?

I only gave it a cursory listen this time (I don't give much credence to first impressions). I was already somewhat familiar with Milhaud's idiom through La Creation du Monde, which I like but haven't heard in a long time. L'homme is pretty strange. 

[Mark]

Currently listening to this - just the final movement at the moment (I'll do the whole thing tomorrow):



You really want to know what I think so far? I like it, despite finding the final movement an odd combination of profoundly intense and moving, and at the same time, irritatingly slow. Comparing it with Karajan's outing, I find Herbie injects more pace and piles on the emotional impact more convincingly.

[Renfield]

Was just listening to Stokowski's "Egmont" Overture (Beethoven), with the LSO. And now, I feel more than glad I bought that Decca box:


Say what you will of "the old wizard" (TM), but this "Egmont" made my eyes moist. Fantastic!

[Mark]

Now listening to this:



Speaking as someone who's more than a little familiar with this work (), I've nothing but good things to say about this performance. Beautifully (nay, delicately) sung, wonderful acoustic with soloists naturally captured in their proper positions within the body of the choir, and a gorgeous tone to the ensemble singing. This is an unjustly overlooked modern recording that deserves to be better known.

[12tone.]

Mark

Familiar with Rach's Vespers?  I recently got this:



What are your thoughts?  I'm happy with the sopranos and mid to higher upper end, but those basses are very ... gurbley. 

The other recording I have is this with the Swedish Radio Choir:



While the sound goes a little too loud at it's loudest, it has a middle of the road sound.  Not too low, not too high. 

EDIT:

So how does yours sound compared to these two?

[sidoze]

sofronitsky

[Mark]

Mark

Familiar with Rach's Vespers?  I recently got this:



What are your thoughts?  I'm happy with the sopranos and mid to higher upper end, but those basses are very ... gurbley.

This is a modern-day gem - the best since Sveshnikov's benchmark first recording of the work in 1965 (it's never been bettered, IMO) - with superb SACD sound. It's a more intimate reading, however, and uses reduced choral forces, so it won't suit those more used to hearing the work sung by big choirs. Nonetheless, a top choice.

The other recording I have is this with the Swedish Radio Choir:



While the sound goes a little too loud at it's loudest, it has a middle of the road sound.  Not too low, not too high.

Aaah! You've taken me right back - that was the first recording I bought about eight years ago. Much treasured in my collection, it has some fine singing despite sonics that really should've been better. It's swift, too: one of the fastest performances around. Doesn't suffer for this, however. The 'Bless the Lord, O my soul' is terrific, with such an innocent sound to the soloist's voice, like a child's appeal to God. Beautiful.  

So how does yours sound compared to these two?

If you're asking how the Hanssler recorded sound fares against these two, then the answer is simple: slightly less well than the first, and somewhat better than the second.

[Lethevich]

Bruckner 4/Ormandy/Philadelphia/Sony



A total powerhouse performance, almost breathtaking at times.