What were you listening to? (CLOSED)

[Harry]

Thank you for your amplification, Harry.  In the US, at any rate, Muzak is held in contempt by the great majority of musicians.  And probably a majority of the listening public.  I knew you meant no such matter, and yet . . . it is not a flattering comparison.

And, of course, you and I both hold Andrei's opinions in the highest regard  0:)

I will keep in mind your vulnerable position in this, and your sensitivity of course.

[Harry]

And, of course, you and I both hold Andrei's opinions in the highest regard  0:)

Absolutely! 0:)

[karlhenning]

I will keep in mind your vulnerable position in this, and your sensitivity of course.

Your character is sterling, mijn vriend!

[Harry]

Ludwig van Beethoven.

Symphony No. 1 in C major, opus 21.
The Academy of Ancient Music/Christopher Hogwood.

The first movement Adagio molto-Allegro con Brio, has a moderate tempi, the Molto in the Adagio is fast enough for comfort, but I think the Allegro con Brio could use a tempi that has more drive to it. The violins are with their speed at its limit, or is it merely a choice from Hogwood to adopt the safe and tight tempi he does? There is weight enough, and the melodies come out quite effectively. The strings are neatly divided on stage and in their playing of the notes, every one is accounted for.
Some choices in holding back around 8:00 is questionable, for all comes to a standstill.
The second movement Andante cantabile con moto is certainly that, without doubt. Beethoven often used the term to qualify a slow or moderate tempo indication, such as a Adagio. It is Cantabile but what it lacks is the accentuation of the many details, and that makes it rather matter of fact playing, and the drama points around 4:00 are a bit lost, and never gets teeth to bite. No raw energy here, but a gentleman behave sort of attitude. Did not do much for me though. In this case Norrington/Zinman/Gardiner score much better, especially Zinman.
The third movement Menuetto & Trio. Allegro molto e Vivace starts of well, allthough a bit cautious. Hogwood gets much better results in this movement, with weighty strings, and nice winds. I would have liked the tempi with more drive, yes again, sorry!
The last movement Adagio-Allegro molto e Vivace is the piece the resistance, the horses are released, and a wild stampede ensues, with a drive, and exhilarating expression. There's nothing Tratto in this movement.
Beautiful Crescendi and decrescendi The crown on this performance!
Good sound too.

[Harry]

Karol Lipinsky.

Violin concerto No. 1 opus 14 in F sharp minor.
Albrecht Laurent Breuninger, violin.
Polish RSO/Wojciech Rajski.

To begin with, and I said this before, Breuninger is a marvelous Violinist, that is well up to the task, and could dash off easily all Paganini's in the field, with his technical skills. He needs them with Karol Lipanski! This composer writes devilish difficult scores, and spares the soloist not. You have to be as flexible as a snake to master what is coming at you. Gorgeous legato, diminuendo's, and flashy crescendo's, double stops abound, and a fine sense for catchy melodies. A serious fellow this.
The Adagio is extremely sensitive, and emits a warmth that would heat up a complete division of cold soldiers.
The Polish RSO under Rajski give ample support, and all is recorded in a very detailed and sumptuous sound.
If you love your Paganini this will be mandatory.

[Lethevich]

Finzi - Cello and Clarinet concertos, both recorded broadcasts.

[bhodges]

Jonathan Harvey: Tombeau de Messiaen (1994) - This was absolutely the highlight of a recital last night by pianist Marilyn Nonken (www.ensemble21.com).  I've heard her play it before and enjoyed it even more this time.  It's for piano and electronics, which combine in sweeping flourishes of spectral (i.e., microtonal) color.  Here is Harvey's description:

"This work is a modest offering in response to the death of a great musical and spiritual presence. Messiaen was a protospectralist, that is to say, he was fascinated by the colours of the harmonic series and its distortions, and found therein a prismatic play of light. The tape part of my work is composed of piano sounds entirely tuned to harmonic series - twelve of them, one for each class of pitch. The 'tempered' live piano joins and distorts these series, never entirely belonging, never entirely separate."

--Bruce

[orbital]

Generous offer by a member. Semi-hip Scarlatti  on pianoforte. The sharp attacks of the Cristofori piano makes a good compliment to her (Aline Zylberajch) choice of sonatas here. I am enjoying this one quite a lot.

[Harry]

Emil Nikolaus von Reznicek.
Symphony No. 2 in B flat major. "Ironic".
Berner SO/Frank Beermann.

I have more works of this composer, so I thought I knew the dept of what he could. Little was I prepared for this emotional onslaught. This work clearly hits a sensitive nerve in me, allthough the tenure of this Symphony is a happy one, it breaks unforeseen deep barriers somehow. This is all a fine web of little lines weaved together in a delicious whole. Tonal, and imbued with lots of warmth. I bow deeply for his art, for that he is something special is clear when you hear the first notes. The second movement Rasch und Leicht, (Fast but light) is for me amazement after amazement. The Berner SO under their conductor Frank Beermann have the right entrance in this complicated music. Good and detailed recordings, that needs your volume a little bit higher as normal.
I love the Degas cover, but then I like all the works of Degas. "Ballerina's in blue costumes" The series of paintings he made about his ballerina's are amazing no less.

[bhodges]

I would also give that Scarlatti CD the "cover of the day" award.  Beautiful...

--Bruce

[Harry]

J.S. Bach.

Cantatas, volume 38.
Falsche Welt, dir trau ich nicht, BWV 52.
Carolyn Sampson, Soprano.
Bach Collegium Japan/Masaaki Suzuki.

Beautiful recorded, and gorgeously sung by Carolyn Sampson.. The instrumental support sounds pristine in every respect.

[springrite]

Vanessa sometimes picks CDs based on cover art, preferring paintings, especially impressionist ones.

Now playing: Godard Cello Sonata

[Harry]

Vanessa sometimes picks CDs based on cover art, preferring paintings, especially impressionist ones.

Now playing: Godard Cello Sonata

Interesting!

Starting with the Violin concertos shortly of the same composer.
Like minds huh?

[springrite]

Interesting!

Starting with the Violin concertos shortly of the same composer.
Like minds huh?

I see you are more into real dames!

[Harry]

I see you are more into real dames!

Yes, my only real weakness.....

[Harry]

J.S. Bach.
Ich Habe genug, BWV 82, Bass version in C minor.
Peter Kooij, Bass.
Bach Collegium Japan/Masaaki suzuki.

Excellently done.

[springrite]

Yes, my only real weakness.....

Well, I consider it one of your strength to be admired!  

Now: Some Alwyn

[karlhenning]

Jonathan Harvey: Tombeau de Messiaen (1994) - This was absolutely the highlight of a recital last night by pianist Marilyn Nonken (www.ensemble21.com).  I've heard her play it before and enjoyed it even more this time.  It's for piano and electronics, which combine in sweeping flourishes of spectral (i.e., microtonal) color.

That is a fun piece, Bruce!  Are we the only two here to have heard it?

[bhodges]

That is a fun piece, Bruce!  Are we the only two here to have heard it?

Wow, Karl!  Did you hear it live, or is there a recording you can recommend?  I thought it was quite beautiful, and furthermore, an excellent deployment of electronics, i.e., in the service of sounds that acoustic instruments cannot achieve.  (Another piece on the program was a huge disappointment: an elaborate electronic set-up that didn't really amount to much.)

--Bruce

[karlhenning]

Wow, Karl!  Did you hear it live, or is there a recording you can recommend?

Haven't heard it live, Bruce;  it was a chance discovery when I bought up this disc for the wonderful tape piece, Mortuos plango, vivos voco.