What were you listening to? (CLOSED)

[Sid]

I have owned this Zemlinsky set since '09 and it's got some great performances from Conlon...

I haven't listened to Zemlinsky in a long time, but I remember thinking that Schoenberg must have learned a lot from him, because Schoenberg's early tonal works have a Zemlinsky-like feel to them.

Yes, I have some of the same Conlon/EMI recordings, but in different packaging to your set. I agree that there is much similarity between Zemlinsky & Schoenberg (& also Berg & Webern) to some degree. Of course, his early influences like Brahms & Mahler can also be heard in his works. For example, the way he states that big theme right at the beginning of the Lyric Symphony, reflects what Brahms did in many of his works. Although (as you know) Schoenberg was taught by Zemlinsky, there must have been many influences exchanged between them, it was definitely a two way street. I think that Zemlinsky is great as a "bridge" between the late Romantic world of guys like Brahms, Wagner, Mahler and R. Strauss to the outright atonality of the Second Viennese School and beyond. I have only come to Zemlinsky recently, I bought the Lyric Symphony disc after I had borrowed another recording from my local library about two years ago. Then, I never gave his music that much thought, now he's probably one of my favourite composers from the turn of the century. I find him somewhat easier to digest than Mahler or R. Strauss, actually. He's also got quite a diverse output, which is also very interesting. No two pieces sound the same to me...

[Mirror Image]

Yes, I have some of the same Conlon/EMI recordings, but in different packaging to your set. I agree that there is much similarity between Zemlinsky & Schoenberg (& also Berg & Webern) to some degree. Of course, his early influences like Brahms & Mahler can also be heard in his works. For example, the way he states that big theme right at the beginning of the Lyric Symphony, reflects what Brahms did in many of his works. Although (as you know) Schoenberg was taught by Zemlinsky, there must have been many influences exchanged between them, it was definitely a two way street. I think that Zemlinsky is great as a "bridge" between the late Romantic world of guys like Brahms, Wagner, Mahler and R. Strauss to the outright atonality of the Second Viennese School and beyond. I have only come to Zemlinsky recently, I bought the Lyric Symphony disc after I had borrowed another recording from my local library about two years ago. Then, I never gave his music that much thought, now he's probably one of my favourite composers from the turn of the century. I find him somewhat easier to digest than Mahler or R. Strauss, actually. He's also got quite a diverse output, which is also very interesting. No two pieces sound the same to me...

I probably need to revisit some Zemlinsky, but right now my brain is trying to get wrapped around Ligeti and I'm also going to try some Boulez and Wolfgang Rihm pretty soon.

[Gurn Blanston]

Some Zemlinsky that I like. Haven't heard his orchestral music at all, but I am fond of his chamber. Also enjoy his Op 3 piano trio.

Right now I am revisiting my old Talich Quartet + set of Mozart's Quintets due to a bit of talk about them recently. I haven't listened in years to them. The playing is as good as I remember it to be. I have hit a bit of a snag though; I have been listening to period instruments for so long (8-10 years) that when I listen to this music on modern instruments, they all sound sharp! It took me a little bit to figure it out, why they sounded so... like they couldn't find the notes!  Now I know a bit more how you modern instrument folks feel when you first hear someone like Trio 1790 who play at A=415. Oh well, it only took half a quintet to get used to it.



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Now playing:
Talich Quartet \ Karel Rehak (Viola) - K 406 Quintet in c for Strings 2nd mvmt - Andante

[Mirror Image]

Now:

[asin]B0016A8E1K[/asin]

Listening to Atmospheres right now. One of the most inventive 20th Century scores I've encountered. I like Ligeti's method of sustained textures. A technique he used a good bit. Let me also say that Ligeti has his detractors (I, at one point was one of them), but it's hard to deny his mastery of the orchestra. His ability to pull some of the most imaginative voicings and sounds from standard instruments is beyond reproach. I greatly admire what he was able to bring to the table from an orchestral point-of-view.

[Antoine Marchand]

... they all sound sharp! It took me a little bit to figure it out, why they sounded so...

Sharp, steely and bright sound (especially from the violin) has a lot of followers... Not a criticism, just a fact.

[Gurn Blanston]

Sharp, steely and bright sound (especially from the violin) has a lot of followers... Not a criticism, just a fact.

Oh yes, that's true. but as you know as well as I do, when once you get away from it especially for a few years, then it sounds more strange than attractive. As you say, not a criticism, just a fact. It doesn't carry through into more modern music, but with music from 1830 going backwards, it is very noticeable!   



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Now playing:
Talich Quartet \ Karel Rehak (Viola) - K 515 Quintet in C for Strings 1st mvmt - Allegro

[Antoine Marchand]

Oh yes, that's true. but as you know as well as I do, when once you get away from it especially for a few years, then it sounds more strange than attractive. As you say, not a criticism, just a fact. It doesn't carry through into more modern music, but with music from 1830 going backwards, it is very noticeable!   

This afternoon I walked almost two miles from the office to my house, just for the pleasure of walking. And I listened to Haydn's opus 17 (through my Ipod) and I thought that many movements are totally forbidden to modern instruments, for instance, that delightful moderato of the fourth quartet, full of colours and delicate nuances...

[Bogey]

[listener]

SCHUBERT  Fantasy for Violin and Piano in C, D.934
    2 Sonatinas... in D, a, g           Dong-Suk Kang, violin      Pascal Devoyon, piano
The Sonatinas are much loved by amateur violinists, their technical demands are quite approachable and they are short.    They wpn't "wow" an audience, but are quite satisfying and enjoyable.  The Fantasy is much longer and oddly structured but rewarding to hear.
POULENC   Sinfonietta     JOLIVET Flute Concerto      ROUSSEL Sinfonietta  IBERT Divertissement
Tapiola Sinfonietta      Paavo Järvi, cond.       Manuela Wiesler, flute   

[Sid]

...Listening to Atmospheres right now. One of the most inventive 20th Century scores I've encountered. I like Ligeti's method of sustained textures. A technique he used a good bit. Let me also say that Ligeti has his detractors (I, at one point was one of them), but it's hard to deny his mastery of the orchestra. His ability to pull some of the most imaginative voicings and sounds from standard instruments is beyond reproach. I greatly admire what he was able to bring to the table from an orchestral point-of-view.

I agree, his music often sounds electronic, but it's actually acoustic. Being a chamber fan, I particularly like the Chamber Concerto, Ramifications & two string quartets. The piano Etudes are just out of this world. But honestly, I haven't heard a thing by him that didn't engage me on some level. He's a bit like Xenakis in that regard...

[Mirror Image]

I agree, his music often sounds electronic, but it's actually acoustic. Being a chamber fan, I particularly like the Chamber Concerto, Ramifications & two string quartets. The piano Etudes are just out of this world. But honestly, I haven't heard a thing by him that didn't engage me on some level. He's a bit like Xenakis in that regard...

I just posted a message in the Ligeti composer thread, so maybe you would like to respond there, but let me say that I find him to be one of the unbelievable orchestrators I've heard. He pulls sounds from the orchestra that are just out-of-this-world. I haven't heard the Requiem yet, but it's coming up in the box set I own titled The Ligeti Project on Teldec. Do you own any of the Teldec recordings, Sid? They are outstanding.

[Daverz]

Glass Symphony 2 and Lees String Quartet 5.  I really enjoy the Glass Symphony, and it has a really fun ending.

[Mirror Image]

Glass Symphony 2 and Lees String Quartet 5.  I really enjoy the Glass Symphony, and it has a really fun ending.

I haven't explored much of Glass' music, but I would like, at some point, to acquire all of his symphonies and various works for orchestra.

[Lethevich]

I really enjoyed that Glass disc, almost despite myself. I have had problems with every other symphony of his (pop quotations, too much recyling, etc), but the second and third really get it right.

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[Sid]

Prokofiev
Piano Concerto No. 5
Piano Sonata No. 8
Sviatoslav Richter, piano
Warsaw NPO/Witold Rowicki
DGG

There's so much going on in this music, particularly the piano concerto. The mood and atmosphere just keeps changing & never settles down for too long. Haydn once said of Beethoven that he was like a man who had "several heads, several hearts and several souls." I think that he would have said the same of Prokofiev had he known him (which is impossible, of course!). Richter's playing is just amazing, not only in technical terms, but how he makes it possible for listeners to really access this music. There's no unneccessary flashiness or showiness, he has a way that makes all these disparate elements come together and even flow a bit (although quite a bit of the concerto at first seems like stop and start, it takes many listens to hear what's going on with the main themes, etc.). The icing on the cake are the three excerpts from Visions Fugitives, such genius there in both the composition and playing (a pity that we've only got excerpts, but they are a joy to hear nevertheless, and the live performance has a bit of a buzz as well). This is one of my favourite recordings of c20th piano music. I think it's pretty much definitive, although I am loathe to usually say this, particularly since I haven't heard many other accounts of this repertoire. Highly enjoyable, in any case...

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[mahler10th]

This morninng I have started with this, which should set up the coming day just fine.

[mc ukrneal]

Elgar's Black Knight always seems to make me happy (despite the rather depressing story). Here is more Elgar that is worth getting to know. Recording and playing are both excellent (with LSO/Hickox).

[jlaurson]

J.S. Bach (1685 – 1750),
Cantatas v.11
J.E.Gardiner / EBO
SDG

Lovely, largely... but Sara Mingardo's "vibrato" (i.e. perma-wobble) is not pleasant.

[The new erato]

J.S. Bach (1685 – 1750),
Cantatas v.11
J.E.Gardiner / EBO
SDG

Lovely, largely... but Sara Mingardo's "vibrato" (i.e. perma-wobble) is not pleasant.

Jeesus - you actually listen to then as well?

This series is largely veryy enjoyable, though unavoidably irregular. I like the designs too!

I used to like Mingardo - has she developed in the wrong direction?

I guess some degree of vibrato is unavoidable in this day and age, but I'd wish at least the HIP-conscious conductors gave more ttentetion to it; Jacobs seems to be another case.

[mahler10th]

Goddamnit, I HATE vibrato.  Unlikely I will get the Bach above.