What were you listening to? (CLOSED)

Started by Maciek, April 06, 2007, 02:22:49 AM

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Lady Chatterley


Bogey

There will never be another era like the Golden Age of Hollywood.  We didn't know how to blow up buildings then so we had no choice but to tell great stories with great characters.-Ben Mankiewicz

Lady Chatterley


RebLem

In the week ending Saturday, April 7, 2007, I listened to the following:

1. 10/10 Bach, J.S.: Cantatas 71, 72, 73, 74—Rilling, cond usual suspects.Vol 23 of hannsler CBE.

2. 10/10 Bach, J.S.: Cantatas 75, 76—Rilling, cond. Usual suspects. Vol 24 of hanssler CBE.

3. 10/10 Bach, J.S.: "New ideas in Weimar," 9 organ works from the Weimar period—Andrea Marcon, organist.

4.     9/9 Bach, J.S: Inventions and Sinfonias, S. 772 – 801—Evgeni Korolov, piano. Vol. 106 of CBE. I am not a big fan of Bach on the piano, and, as always with solo keyboard works in this series (except for organ works) this is too closely recorded. But, for what it is, Mr. Korolov performs well. If you like Bach on the piano, you will probably like this very much.

5. 10/10 Bach, J.S.: Harpshichord Concerti S. 1060, 1061, 1061a, 1062—Rilling, cond. NOT the usual suspects ! Oregon Bach Festival Chamber Orch, Robert Levin, Jeffrey Kahane, harsichordists. Vol 129 of CBE. Harpsichord works are usually too closely recorded in this series; this is an exception; perhaps the environment @ the Hult Center for the Performing Arts in Eugene, Oregon, where this was recorded has something to do with it. Excellent performances.

6. 10/10 Mozart: Serenade 7 in D Major, K 250 "Haffner" |5 Contredanses for 2 violins, double bass, flute, and drum, K 609—Collegium Aureum. RCA Victrola CD, also has Harmonia Mundi and BMG Classics labels on it. These are magnificent performances, among the very best of the Collegium Aureum Mozart series, which maintains a very high standard generally. The first contredanse of K. 609 lasts only 62 seconds, and is a charming and affecting version of Figaro's "Non piu andrai." It will make you smile, and maybe even dance.

7. 10/10 Mozart: Syms 36 "Linz," 38 "Prague," 40, and 41 "Jupiter."—Jeffrey Tate, cond. English Chamber Orch.—2 CD EMI double fforte twofer. These are superb performances, my first encounter with Mr. Tate. On the strength of this, I intend to get more of his Mozart.

8. 10/10 Mozart: Syms 1, 4, 5, 6, 8, 16a, 19a, 52, 36, 38, 39, 40, 41—Hans Graf, cond, Mozarteum Orch, Salzburg—Vols. 1, 2, 3, & 8 of a 13 CD Capriccio set of the complete Mozart symphonies.

9. 9/7 Beethoven: Missa Solemnis—Sir Charles Mackerras, cond. Sydney Sym Orch and Sydney Philharmonia Choir, Rosamund Illing, soprano, Elizabeth Campbell, mezzo, Christopher Doig, tenor, Rodney Macann, bass—ABC Classics Eloquence CD. The date of this recording is not shown, but it was originally issued in 1987, and it does say DDD. The performance is good enough. The orchestra is excellent, as is the choir, and each of the soloists who seem well matched to work with one another. Leadership, however, seems routine and uninspired. No disasters or outrages, you understand, just no fire in the belly evident.

The sound engineering, however, is absolutely horrible. But for the fact that it is in stereo, one would be hard pressed to detect from the evidence that this was recorded after, say, 1953. The whole ensemble sounds like it was recorded through thick blankets 50 yards away from the nearest musician.

And, the album production values are illustrative in the extreme of why it is that so many people are going to downloading instead of buying albums. You open the booklet and the first page is just a repeat of the back cover in bolder type showing the name, birth year and death year of the composer, like we needed that again, The name of the work and, in parentheses, (Vienna 1819-23). Then a listing of the titles and timings of the 5 movements, a list of the performers, and, at the bottom, Total timing: 72'29.

Then we open up the booklet and find a 3 page essay on Beethoven and the composition of this work—the same stuff that has appeard in scores, perhaps hundreds of other booklets accompanying recordings of this work, and that you could find in any one of hundreds of books about music or Beethoven.

What we want to know here, of course, is something about Mackerras and his relationship with this ensemble (was this a one shot deal, or does Mackerras have a long association with the Sydney Symphony?), and, even more, something about the soloists, all of whom are unknown to me and, I suspect, nearly everyone outside of Australia, but they give us nary a clue because they haven't a clue as to what people want, or they just don't care. Let me give them a clue: next time, don't be so cheap. Part with a few bucks so Agnes Selby can earn her daily bread writing an article telling us a little something about the performers and the circumstances surrounding this production. Geez, these people are boneheads.

10. 10/10 Schubert: Rosamunde Incidental Music (complete) (58:28 )—Karl Munchinger, cond. Vienna Phil and Vienna State Opera Chorus, Rahanzig Yachmi, contralto in #5 Romanze: "Der Vollmond strahltauf Bergeshoh'n"—Decca Eloquence. To the best of my knowledge, one of only two recordings of the complete Inc Music ever recorded.

11. 10/10 Foote, Arthur (1853-1937): Piano Quintet in A Minor, Op. 38 (23:33) |String Quartet #2 in E Major, Op. 32 (26:49) |String Quartet #3 in D Major, Op. 70 (25:15)—Da Vinci Quartet, James Barbagallo, piano—NAXOS CD (see next entry for more info.)

12. 10/10 Foote: Piano Trio 1 in C Minor, Op. 5 (31:48 ) |Piano Trio 2 in B Flat Major (1908 ) (20:55) |Melody for violin & piano, Op 44 (4:52) |Ballade for violin & piano, Op. 69 (8:18 )—Arden Trio—NAXOS CD.
Arthur Foote was an American composer, born in Salem, Massachussets to Caleb Foote, who had been an orphan at a young age, but made a fine life for himself, starting out as an apprentice at a local newspaper, later becoming its editor and co-owner, active in school affairs and his church, and getting elected to the Massachusetts House of Representatives.

Arthur studied at Harvard with John Knowles Paine, among others, earning a bachelor's degree in 1874; in 1875, he became the first American to be awarded a Master of Arts in Music degree from Harvard or any American college or university.

Despite the fact that he was thoroughly American, however, his music is firmly rooted in the middle European, mid-Romantic idiom of Schumann, Brahms, and Dvorak, with just a dash of Wagner thrown in. In form and style, these works are thoroughly derivative, but he is no pale imitation, like, say, Bruch or Goldmark, of the real masters. His familiarity with sonata form is thorough, and his musical arguments are rigorous, complex, sophisticated, and often beautiful. He is a composer well worth anyone's getting to know.

13. 10/10 Britten: On This Island, Op. 11 (12:29) |19 Folk Song Arrangements (mostly English, but including 3 French songs) |7 Sonnets of Michelangelo, Op 22 (16:11) |Canticle I : My beloved is mine, Op. 40 (7:48 ) |Canticle II: Abraham & Isaac, Op. 51 (15:36) |Canticle III: Still falls the rain, Op. 55 (11:35) |Winter Words, Op. 52 (20:49)—Robert Tear, tenor, Sir Philip Ledger, piano, with James Bowman, countertenor in Canticle II, and Alan Civil, horn in Canticle III—2 CD EMI set. It is worth noting that the folk song arrangements are pretty straightforward. Not much fancy footwork here, with the songs used just as inspiration. Britten's contribution is minimal, only what is necessary to convert songs usually played by pop singers with varying instrumentation into songs that can be sung by a tenor accompanied by a pianist.

14. 10/10 Milhaud: String Quartets 5, 6, 17, 18—Quatuor Parisii—naïve CD, part of a 5 CD naïve box of the complete Mlihaud quartets + the Octet.

15. 10/10 Milhaud: Octet, Op. 291 (1949) (17:58 ) |SQ 14 (17:38 ) |SQ 15 (18:05) |3 etudes on liturgical themes by of Comtat Venaissin for string quartet (1973) (10:29) |In Memoriam, hommage a Igor Stravinsky, Op 435 (1971) (1:13) –Quator Parisii—naïve CD.

16. 10/10 Gutej, Myroslav (b. 1961 in Perth, W Aus): Piano Sonatas 1,3,4,5,6, & 7—Myroslav Gutej, piano—KWA Records—KWA is a very small label, and when I saw it on the Buywell site, in the category they have for composer inspired labels you can't get anywhere else, I thought, "Well, this might be interesting. Wonder what the music of an Australian Slav would sound like?" There is a pic of him on the front cover, which is also available through Google Images if you're interested, and he looks a little like a young, baby-faced Emil Gilels. Anyway, I found a review of this CD, so I'll just quote it:

Gutej was born in Perth, West Australia and began playing the piano at age of nine. His piano tutors were Brian Michell, David Bollard (who has recorded several Australian concertos) and Roger Smalley. During his time at the University of Western Australia he became intrigued by Eastern European folk music and this glimmers through his piano writing most particularly in the works from 1995 onwards. Serious hand injuries and illness prevented him from playing the piano from 1987 to 1990. On the evidence of this disc he seems to have made a complete recovery or wins his fluency through dedication defeating physical barriers. Quite apart from his solo piano output he has written a mass for choir and orchestra and a symphony. These are works I would like to hear.

The First Sonata is the most classically orientated piece here. It is redolent of Haydn, Mozart and early primitivistic American folkmusic. The Third Sonata pummels away in the manner of the Prokofiev wartime sonatas. The Fourth can suggest Nyman but also Boulez especially in the second and last movement. The Fifth is a luxuriant blooming between Ravel, Sorabji and Medtner and oriental voicings from the Hovhaness wellspring. The Sixth is of thinner growth with some chimingly charming soft dissonances. The Seventh Sonata is a micro-structure if ever there was one. Its three movements encompass less than two minutes! All save numbers 3 and 4 are in three movements.

This disc introduces a composer of evidently sincere motivation who takes to tonality like a duck to water. We could have done with more music.
If my references to Medtner, Prokofiev, Sorabji and Ravel have piqued your interest then do not hesitate. You will find this a treat.

Rob Barnett
http://www.musicweb.uk.net/classrev/2002/Aug02/gutej.htm
"Don't drink and drive; you might spill it."--J. Eugene Baker, aka my late father.

Dancing Divertimentian

#284



And for those who are curious, the back side:


Veit Bach-a baker who found his greatest pleasure in a little cittern which he took with him even into the mill and played while the grinding was going on. In this way he had a chance to have the rhythm drilled into him. And this was the beginning of a musical inclination in his descendants. JS Bach


val

HÄNDEL:  Ballet Music from Alcina, Terpsichore, Il Pastor Fido.

Nice music, but it doesn't give the dimension of the operas, in special Alcina. And Händel has not the sense of colour and diversity that Rameau shows in the ballets from his operas.

Splendid interpretation of Gardiner with the English Baroque Soloists.

Harry

#287
Andreas Romberg. (1767-1821)

String Quartets Volume I.

Opus 1.1 in E flat major.
Opus 1.2 in G minor.
Opus 1.3 in F major.

Leipziger Streichquartett


For me a major discovery yet again on the MDG label. The Leipzigers of course are known for their excellence, so the quality of the performance did not come as a surprise. But the music is also on a very high level, so much so, that I am quite flabbergasted, and more then surprised. Once in a while you discover pearls in the mud, and Romberg certainly is a pearl. The easy grace and melodiousness is superb, and fascinating to boot. A friendly smile on my face all the time while this is playing is something of a quality stamp I guess.
If you love Schubert, or Mendelssohn, you will adore Romberg, be sure of that. Recording is state of the art.

http://en.wikipedia.org/wiki/Andreas_Romberg

Harry

Quote from: val on April 10, 2007, 12:29:29 AM
HÄNDEL:  Ballet Music from Alcina, Terpsichore, Il Pastor Fido.

Nice music, but it doesn't give the dimension of the operas, in special Alcina. And Händel has not the sense of colour and diversity that Rameau shows in the ballets from his operas.

Splendid interpretation of Gardiner with the English Baroque Soloists.

Love this recording too. Seeing my listening notes, I played it quite often.

Valentino

During Easter mostly the two big passions by Bach. Gardiner, from that bargain DG box set. Money well spent, I'd say.
We audiophiles don't really like music, but we sure love the sound it makes;
Audio-Technica | Bokrand | Thorens | Cambridge Audio | Logitech | Yamaha | Topping | MiniDSP | Hypex | ICEpower | Mundorf | SEAS | Beyma

Harry

Quote from: Valentino on April 10, 2007, 12:41:32 AM
During Easter mostly the two big passions by Bach. Gardiner, from that bargain DG box set. Money well spent, I'd say.

That is really good to hear my friend! :)

Harry

Alexander Grechaninov.

String Quartets Volume II.

Opus 75. (1915)

Utrecht SQ.

I so admire this composer, for his SQ are dear to me as Beethoven or Schubert, or..................
And in such good performances and sound quality, the appreciation goes sky high!
The open and lucid lines that lead to a Valhalla of aural bliss is amazing in its conception.
Just listen to the second movement "Lento Assai" and you will know what I am talking about!

Daverz


Harry

Alexander Grechaninov.

String Quartet opus 124. (1929)

Utrecht SQ


Fascinating, deeply moving, genius like in every aspect, what a good composer he is. The second movement "Moderato assai" is heart wrenching, and very emotional written.

Haffner

Quote from: Harry on April 09, 2007, 11:32:46 AM
Between 6800-7000 my friend, but tell me why are you so curious?


I was curious! :)

Harry


karlhenning

Good morning, Andy & Harry!

Dmitri Dmitriyevich
String Quartet No. 11 in F Minor, Opus 122
Emerson Quartet

Haffner

Quote from: Harry on April 10, 2007, 04:16:21 AM
Very good choice, and very rewarding too! :)



Good Morning, amico mio! I had found this older edition of the Gardiner on Ebay and loved the cover so much I had to get it!


It's disconcerting how often companies which produce "Classic" music cds often overlook the value of an attractive cd cover!

Haffner

Quote from: karlhenning on April 10, 2007, 04:20:28 AM
Good morning, Andy & Harry!

Dmitri Dmitriyevich
String Quartet No. 11 in F Minor, Opus 122
Emerson Quartet





Buona Mattina, Maestro Karl! Do you ever feel even in the least a bit gloomy, listening to such sometimes-infinitely-dark Shostakovich pieces?

Harry

Quote from: Haffner on April 10, 2007, 04:21:39 AM


Good Morning, amico mio! I had found this older edition of the Gardiner on Ebay and loved the cover so much I had to get it!


It's disconcerting how often companies which produce "Classic" music cds often overlook the value of an attractive cd cover!

Not with MDG & CPO though! :)