What were you listening to? (CLOSED)

[MN Dave]

I'm allowing the iTunes Genius feature to have its way with me in classical pieces.

[Keemun]

Sibelius
Symphony No. 3
Bernstein
NYPO

[SonicMan46]

Well, breaking away from the seasonal music today:

Beethoven, LV - Cello & Piano Works: Past & Present w/ Lambert Orkis & David Hardy; 4 discs - 2 performed w/ modern techniques (an old cello strung w/ wire) & 2 on older fortepianos instruments + gut strings on the same cello - just a unique project - more detail in the Old Instrument Thread HERE, if interested - believe that I'm starting to prefer the 'gut-strung' cello in these works - 

[Que]

Nearly 80 years after the invention of the fortepiano, the harpsichord was by no means relegated to antique status. On the contrary, the two instruments cohabited throughout the 18th century, to the point where several makers strove to combine them in a single entity! The most incredible of these 'mutants' is probably the extravagant Vis-à-vis built by Johann Andreas Stein in 1777: at one end there is a three-manual harpsichord, at the other a fortepiano with 'moderator' stop. Only two specimens of this instrument still exist today. With its extraordinarily wide range of timbres and dynamics, it enables Andreas Staier and Christine Schornsheim to renew our conception of Mozart's works for piano duet.

Apart from the unique instrument this is some fine Mozart playing!

Q

[Coopmv]

Nearly 80 years after the invention of the fortepiano, the harpsichord was by no means relegated to antique status. On the contrary, the two instruments cohabited throughout the 18th century, to the point where several makers strove to combine them in a single entity! The most incredible of these 'mutants' is probably the extravagant Vis-à-vis built by Johann Andreas Stein in 1777: at one end there is a three-manual harpsichord, at the other a fortepiano with 'moderator' stop. Only two specimens of this instrument still exist today. With its extraordinarily wide range of timbres and dynamics, it enables Andreas Staier and Christine Schornsheim to renew our conception of Mozart's works for piano duet.



Apart from the unique instrument this is some fine Mozart playing!

Q

I will check out this CD.     Thanks for the heads up, Q.

[Drasko]

[SonicMan46]

Nearly 80 years after the invention of the fortepiano, the harpsichord was by no means relegated to antique status. On the contrary, the two instruments cohabited throughout the 18th century, to the point where several makers strove to combine them in a single entity! The most incredible of these 'mutants' is probably the extravagant Vis-à-vis built by Johann Andreas Stein in 1777: at one end there is a three-manual harpsichord, at the other a fortepiano with 'moderator' stop. Only two specimens of this instrument still exist today. With its extraordinarily wide range of timbres and dynamics, it enables Andreas Staier and Christine Schornsheim to renew our conception of Mozart's works for piano duet.

Apart from the unique instrument this is some fine Mozart playing!

Q - now that's an instrument belonging in the 'old instrument' thread!     Actually, I have no Mozart 'piano duets', so this would seem like a good start!  Will add to my 'wish list' - Dave 

[Coopmv]

Now playing CD8 - the last CD from this set.  This has been such a great set to appreciate the virtuosity of Nathan Milstein.
I have certainly never heard the performance of Rach Vocalise on violin before.

[listener]

Brahms  shorter choral music incl. op.17 for women's voices, 2 horns and harp
Busoni piano music  disc 2 of the Capriccio set, includes his transcription of the Liszt/Meyerbeer Ad nos, ad salutarem undam and the Große Fuge / Fantasia contrappuntistica - Busoni's attempt to complete Bach's BVW 255, the Art of Fugue.  I think Bach would not have taken 30:10 to do the job.

[Coopmv]

Now playing CD9 from this set ...

[Brian]

Well, breaking away from the seasonal music today:

Beethoven, LV - Cello & Piano Works: Past & Present w/ Lambert Orkis & David Hardy; 4 discs - 2 performed w/ modern techniques (an old cello strung w/ wire) & 2 on older fortepianos instruments + gut strings on the same cello - just a unique project - more detail in the Old Instrument Thread HERE, if interested - believe that I'm starting to prefer the 'gut-strung' cello in these works - 

Glad you're enjoying that one, Dave! Such an interesting project (and fun to listen to)! 

~~~

As for my own listening...



(click the image for my review of the CD)

[Coopmv]

Glad you're enjoying that one, Dave! Such an interesting project (and fun to listen to)! 

~~~

As for my own listening...



(click the image for my review of the CD)

Brian, Happy Holiday!  I presume you are no longer in Houston?

[Coopmv]

Now playing CD8 from this set ...

[CD]

Symphonies 38 and 39

[Brian]

Brian, Happy Holiday!  I presume you are no longer in Houston?

Nope! Back in home (San Antonio) for the holidays ... will be back in H-Town soon enough! 

[Brian]

James, next month Boulez is releasing a CD of the Symphony in Three Movements and Pulcinella (complete) with the Chicago Symphony, on the CSO Resound label.

[Coopmv]

James, next month Boulez is releasing a CD of the Symphony in Three Movements and Pulcinella (complete) with the Chicago Symphony, on the CSO Resound label.

Does CSO Resound operate like LSO live, a label owned by the LSO?  I plan on getting the Boulez's Bruckner 8th on DVD after the New Year ...

[karlhenning]

James, next month Boulez is releasing a CD of the Symphony in Three Movements and Pulcinella (complete) with the Chicago Symphony, on the CSO Resound label.

Oh, that's going to be tasty!

[Brian]

 

First listen to one of my Christmas presents:



Opp. 109-110-111

Wow, no wonder people love these recordings. So pure, so simple, they so effortlessly feel "right."

[bhodges]

This afternoon, a fourth and final hearing of Strauss's Elektra, on the Met's Saturday afternoon broadcast.  As with all great scores, each encounter reveals new delights.  Before the opera began, I enjoyed hearing some brief comments by conductor Fabio Luisi, who described the "transparency" of the score (i.e. that it's not gigantic waves of sound all the time), and that's exactly the way he led it.  There are many fine solo moments for the oboe, clarinet and bassoon, and even some of the huge orchestral textures seemed less dense than some people imagine when they think of Richard Strauss.

--Bruce