What were you listening to? (CLOSED)

[The new erato]

I'm afraid it didn't even stimulate me to tap my foot.   

I assume there are people who like this work, but given that it's quality and originality is so far below that of the Concerto for Orchestra and other top drawer works by Bartok, I wonder how musicians muster the enthusiasm to take these pieces into the studio and record them.

I do agree, it's a long time since I listende to this and there probably is a reason for that. I remember some swirling rhytms though.

[jlaurson]

Another piece from this release



This time the dance suite. 

Well, the transition from the Concerto for Orchestra to the Dance suite was a precipitous drop.  Such a dull piece of music.  The point of it eludes me entirely.

totally agree:

Before the Spaniard was on the program, it was Bartók's turn. Simplistically speaking, you trade in melody for compelling rhythm with the Hungarian master—and, assuming you are receptive to that, you feel enriched by it. That's true for most of his major orchestral pieces, although in the Dance Suite for Orchestra Sz.77 the equation doesn't work out for me. The moments of lyricism amid a hectic, craggy landscape of various ethically flavored dance rhythms, with brief, disoriented outbursts, strikes me as more random than well integrated. Barring greater exposure to the work, it can easily make the impression of bits and pieces plugged from the scores of several movies, filmed on original locations.

from:
Ionarts at Large: Falla, Bartók and Tan Dun—Lang Lang enriched

[Brahmsian]

Mozart

Divertimento (String Trio) in E flat, K.563

Grumiaux Trio
Decca

This work has just become one of my top 10 chamber works of all!  I could listen to it over and over again, it is that good! 

[Scarpia]

Mozart

Divertimento (String Trio) in E flat, K.563

Grumiaux Trio
Decca

This work has just become one of my top 10 chamber works of all!  I could listen to it over and over again, it is that good! 

Agreed, it is a wonderful work, amazing the harmonic textures Mozart implies with only three instruments.  I recently discussed that very recording in one of the recent culture-war threads, where some of our more special posters were showing off their intellectual brilliance by explaining to the rest of us that Mozart was incompetent.


But, it is sad to see that classic Philips recording being marketed as "Decca."   

[Opus106]

Mozart's minor-key works and Bach arias with an extensive part for the oboe (d' amore) or flute -- two things I don't ever want to live without.

BWV 198 - JEG and Gang.

[Brahmsian]

But, it is sad to see that classic Philips recording being marketed as "Decca."   

I know, it looks weird.  The still retain the same cover as the old Philips, only change the label. 

[Que]

A really great disc which I stumbled upon while googling the Auser Musici ensemble after buying their fine Cavalli L'Ormindo on Pan.

I will look into this disc - thanks!

Q

[karlhenning]

This time the dance suite. 

Well, the transition from the Concerto for Orchestra to the Dance suite was a precipitous drop.  Such a dull piece of music.  The point of it eludes me entirely.

Oh, remarks like this puzzle me.  I loved the Dance Suite from the first I  heard it. How can anyone not immediately like it?

The scoring throughout is magical.  One of the later numbers starts off with a bassoon in the high, "Stravinsky" register . . . you hear it doubled by the breathy low flute on just the descending perfect fourth of the first two notes?  Terrific!

(It's the col legno that's got on your bad side, isn't it, Scarps?)

[karlhenning]

Nor am I daunted by Jens's blog post. Cleverly worded dismissal just makes the dismisser feel good;  it doesn't actually put anything over the piece.  The art is always on a plane higher than the criticism.

Noted that the piece don't do anything for either of you gents.  A pity.

I still think it's one of those great minor works, up there with the Symphonies of Wind Instruments, and the Fantasia on a Theme of Thomas Tallis.

[Sergeant Rock]

It is not serial music that eludes me, but music that does not have a discernible rhythmic pulse.

Try Schoenberg's Piano Concerto. Seriously! I cannot stop air conducting when I listen to it. I'm moved to dance, also, but with the most music of the Second Viennese School it's essential to be blessed with one leg shorter than the other in order to properly execute the difficult steps. Alas, I was born normal.

Playing now, my favorite recording of one of my favorite works of degeneracy and ugliness:



Sarge

[karlhenning]

Mozart's minor-key works and Bach arias with an extensive part for the oboe (d' amore) or flute -- two things I don't ever want to live without.

Anyone who loves the K.466 is a friend of mine! — And, we put the hurt on Teresa ; )

[Franco]

Nor am I daunted by Jens's blog post. Cleverly worded dismissal just makes the dismisser feel good;  it doesn't actually put anything over the piece.  The art is always on a plane higher than the criticism.

Noted that the piece don't do anything for either of you gents.  A pity.

I still think it's one of those great minor works, up there with the Symphonies of Wind Instruments, and the Fantasia on a Theme of Thomas Tallis.

Symphonies of Wind Instruments a minor work?  Fie on you Sirrah!

[karlhenning]

Symphonies of Wind Instruments a minor work?  Fie on you Sirrah!

Only in duration.  Which is how I feel, too, about the Vaughan Williams & Bartók.

[Sergeant Rock]

Only in duration.  Which is how I feel, too, about the Vaughan Williams & Bartók.

Ah, that's better. Thanks for the explanation. I was about to call in an air strike for that perceived slight of Ralph's sublime creation.

Sarge

[Scarpia]

(It's the col legno that's got on your bad side, isn't it, Scarps?)

Didn't notice any col legno, I have to admit. 

I still think it's one of those great minor works, up there with the Symphonies of Wind Instruments, and the Fantasia on a Theme of Thomas Tallis.

Now that is just silly.  Both of those works create unique sound worlds for which I can't call to mind a clear parallel.  That Bartok Dance Suite is, to my ear, a collection of vaguely rustic sounding tunes with a few wrong notes and quirky bits of orchestration thrown in so we'll know it's Bartok.

[karlhenning]

Ah, that's better. Thanks for the explanation. I was about to call in an air strike for that perceived slight of Ralph's sublime creation.

Sarge

Whew! Apparently, one of those cases where use of the adjective great is simply insufficient inoculation ; )

[Sergeant Rock]

Oh, remarks like this puzzle me.  I loved the Dance Suite from the first I  heard it. How can anyone not immediately like it?

If I weren't in the middle of my Arnie vs Felix Marathon, I'd play that now to resolve the conflict once and for all   

In truth, I do not remember it (although I've played it often). I don't recall thinking negatively of it....but then, since I don't recall it, it obviously made little impression. I'll listen later.

Sarge

[Sergeant Rock]

Whew! Apparently, one of those cases where use of the adjective great is simply insufficient inoculation ; )

The negative always trumps the positive. In this case, I didn't even notice the juxtaposition of great with minor. I only saw the minor 

Sarge

[karlhenning]

Now that is just silly.  Both of those works create unique sound worlds for which I can't call to mind a clear parallel.

No, not silly, and for exactly that reason.  And again, the key is Bartók's miraculously inventive and apt scoring.  I don't really mean to find fault with (say) the Dvořák Slavonic Dances, or the Hungarian Dances which Brahms himself arranged for orchestra, or for Kodály's Dances of either Galanta or Marrószek.  But in comparison to Bartók's Táncszvit, their scoring is, well, conventional, and a little straitlaced.  With the Bartók, the scoring has a naturalistic color, a transparency and raw verve which brings to mind the 'dudel-sack' trios in some of the Beethoven scherzi.

[Scarpia]

Try Schoenberg's Piano Concerto. Seriously! I cannot stop air conducting when I listen to it. I'm moved to dance, also, but with the most music of the Second Viennese School it's essential to be blessed with one leg shorter than the other in order to properly execute the difficult steps. Alas, I was born normal.

Playing now, my favorite recording of one of my favorite works of degeneracy and ugliness:



Sarge

I may have to make due with this one, on hand:



Maybe we can chip in and get this one for Dear Teresa, bless her heart.