What were you listening to? (CLOSED)

[karlhenning]

Write something for the oboe! 

Unaccompanied?

[karlhenning]

I think you've pushed Mahler out my listening queue Karl, I'm going to listen to more of your downloads instead.

I am honored to temporarily displace Gustav! 

[hautbois]

Unaccompanied?

That is your artistic decision of course. 

Howard

[Harry]

Devastatingly beautiful!

String Quartets No, 7, 11, 13.

[George]

Morning! 

[karlhenning]

The stuff is excellent, but I'm not necessarily happy with solo soprano lines being given to boys, I find their voices weak and colorless (probably just personal preference).

Or, possibly, character of the individual voice can be a deal-breaker.

[karlhenning]

That is your artistic decision of course. 

Would you have occasion to play with a harpist, Howard? Somehow this morning, the idea of oboe & harp sounds enticing to me. That capricious Muse of mine! (Capricious she may be, but she never let me down yet.)

[karlhenning]

KARL HENNING
The Passion According to St John

I have this strange urge to watch a Monty Python movie. 

Although the music is wonderful, I do have to admit that it reminds me why I prefer listening to choral music in languages I can't understand.

Brian, thanks for listening! And many thanks for the adjective wonderful!

As for Monty Python . . . Block of Wood says, "Can't be bad." 

[owlice]

[bhodges]

Scriabin: Le Poème de l'extase (Boulez/Chicago) - Cooler-headed than say, Sinopoli or Gergiev, yet somehow totally riveting.  Somehow I never would have expected Boulez to be attracted to this music, but there you go.  The Chicago ensemble sounds magnificent, including the much-lauded brass section.

--Bruce

[Henk]

Nita.
SQ 1.

[SonicMan46]

Debussy, Claude - Solo Piano Works, Vols. 3 & 4 w/ Jean-Efflam Bavouzet; well, this acquisition today completes my collection of this modern set; the performances are just outstanding and the recorded sound excellent - this will likely be a 'benchmark' for many years.   


 

[Keemun]

Beethoven: Triple Concerto (Isaac Stern, violin; Leonard Rose, cello; Eugene Istoman, piano; Eugene Ormandy; Philadelphia Orchestra)

[Keemun]

Brahms: Double Concerto (Isaac Stern, violin; Leonard Rose, cello; Eugene Ormandy; Philadelphia Orchestra)

[Brian]

Brian, thanks for listening! And many thanks for the adjective wonderful!

As for Monty Python . . . Block of Wood says, "Can't be bad." 

I especially enjoyed the haunting passage from about minutemarkers 20-26; really caught my ear, right when (hate to say) the initial mood was beginning to test my endurance...

[Brian]

Beethoven: Triple Concerto (Isaac Stern, violin; Leonard Rose, cello; Eugene Istoman, piano; Eugene Ormandy; Philadelphia Orchestra)

Just acquired this. Should I join you?

[Lethevich]

I don't like this one at all, so perfunctory... I wonder whether he even liked the work?

[Scarpia]

I don't like this one at all, so perfunctory... I wonder whether he even liked the work?

Perfunctory?  One of the best audio recordings of all time!

[Brian]

I don't like this one at all, so perfunctory... I wonder whether he even liked the work?

Oooh, I love that one! It's direct and potent and thrilling, to me. (Although Venus is lovely, of course.) And the coupling I have is with Monteux' Enigma Variations - the Brit Hits on one album!

[Lethevich]

Of all the rotten times to get a power cut when I type out a couple of paragraphs Still, it's an internet rite of passage, even if it took me 8 years to experience.

Vive la différence! I feel it's partly down to my expectations of how the piece should sound with the performance tradition in English orchestras. While the "classic" old performances of it are ropey sounding, the details of phrasing being passed down and tweaked eventually became ingrained. Karajan made me think "why did he begin the next section of Jupiter without that wonderful traisitional micro-pause (around 0:58) - and then the feeling that the "hymn" theme lacks the slightly bittersweet inevitability, and can never take flight from such a point. He does create some exciting moments, with emphatic closing chords to various points, but it doesn't feel 100% considered - sometimes these diversions to my imprinted map of the piece occur, sometimes they do not. Slightly jarring!