What were you listening to? (CLOSED)

[Willoughby earl of Itacarius]

Emotion allied with construction.
Although my compositions are extremely diverse in character, I approached each one in more or less the same manner. I could liken myself to a architect, tackling each work in three stages, always in the same order: First the purpose, or reason for which the work is composed, then the architectural structure: then the material of which it is to be build. The words of the composer!

And so it is! A good example of this vision surely must be Polonia-Suite filled with folk melodies, and very tastefully done, with a genuine drive and colourful vision. Its a powerful work, bursting with energy. Well orchestrated. The orchestra is enjoying this one very much, their enthusiasm is tangible.
The lullaby Kolysanka, is not meant for small children to listen, its kind of scary for them, all those eerie glissando's on the first violins, and to be honest I would not sleep after this. I know now what you can do with a Lullaby

[Karl Henning]

  How do you feel about his symphonies?  My first reaction to the symphonies were mixed, but that was 4 years ago.  I fear I might have misjudged them.

While I am interested in Que's answer, too, Marvin . . . my direct response to the symphonies has always been delight.  There was a long period when my involuntary response was a sort of preventive bewilderment — How shall I ever get to know them all?  But the key is just not to worry about that, and enjoy each symphony as you hear it.

[Karl Henning]

Thread duty:

F. Couperin
Pièces de clavecin
Livre IV, 25ème ordre
Noëlle Spieth

Muchas gracias, Antoine!

[Willoughby earl of Itacarius]

A composer that fascinates me also, his erratic writing and the unrest that's haunting the 7th Symphony is getting on my nerves, but I can not stay away from it, so there must be something that is akin to my mood when listening to it. The first movement is a case in point, its filled with dancelike movements, almost running, to and fro, where woodwinds, brass and timpani and especially the bassoons create havoc a full 10 minutes. It goes nowhere and it ends on a note of wonder where it would lead to, if taken further in this madness. But is is well written nevertheless, so I also listen in amazement. The following "Adagio mesto cantanto e tranquillo" unwinds this whirlwind quite effectively, with a cello lamenting in emptiness. and the basses pick this up instantly with the first Violins hovering over it all, and so creates a eerie atmosphere that is like a blanket preventing escape from this bleakness. At 2:40 the bassoons start throbbing their presence into the structure again, very much in place, a instant effect. The last movement is bursting with energy, as if mocking the first two movements, its almost a jolly converse between woodwind and strings on a stroll in the community park. And the timpani add their boisterous comments too!
The performance strikes me as good, albeit I have no comparison in this, the recording is excellent. 

[Karl Henning]

F. Couperin
Pièces de clavecin
Livre II, 11ème ordre
Noëlle Spieth

[Elgarian]

my direct response to the symphonies [by Haydn] has always been delight.  There was a long period when my involuntary response was a sort of preventive bewilderment — How shall I ever get to know them all?  But the key is just not to worry about that, and enjoy each symphony as you hear it.

I'm nodding affirmatively at this.* I found there was a tendency to be overwhelmed at the outset: 'Out of so many, how do I actually choose one to listen to, and why that one?' But in the end I got hooked on Haydn symphonies by treating them like a giant box of chocolates. 'Wow, I love the taste of this one, and oh boy, see how many there are left in the box!'

*I'm just wondering how one might manage to nod non-affirmatively, and so feeling dissatisfied by what I wrote. But I choose to leave my blunder as it is, in the interests of truth and transparency.

[Sergeant Rock]

  How do you feel about his symphonies?  My first reaction to the symphonies were mixed, but that was 4 years ago.  I fear I might have misjudged them.

  marvin

Since you've fallen for the quartets, I'm not sure how you could not fall for the symphonies too. Maybe it's time to plunge right in. The Adam Fischer box can be had for only 35 euro (29 pounds for 33 discs!) at Amazon DE. I can't vouch for the performances personally but many here do. It's an inexpensive way to get to know the symphonies.

Sarge

[Karl Henning]

My Amazon package arrived today, so first on the CD player

  Schnittke: Concerto Grosso 1, Quasi una Sonata, Moz-Art a la Haydn, A Paganini--Gidon Kremer with the Chamber Orchestra of Europe and various other participants. 

Interesting and challenging, but sometimes interesting only in a "Chinese" sort of way.   Schnittke is obviously the sort of modern composer with whose music I have a hard time;  this will need replaying several times to decide if I want to further explore him.

Take your own time and approach with Schnittke, bien sûr.

That said, if you want to give the Piano Quintet and the Concerto for Choir a try, they occupy a different corner of Schnittke's world, a corner which you may find a bit more inviting . . . and that may be some aural leverage onto the Concerto grosso № 1.

Also (or, subsequently) . . . the Symphony № 4 largely encompasses ground similarly to that covered by either the Concerto grosso № 1 and the Concerto for Choir.

Or, you may just want to chill to some Haydn. I don't mean to be pushy . . . . : )

[Karl Henning]

Since you've fallen for the quartets, I'm not sure how you could not fall for the symphonies too. Maybe it's time to plunge right in. The Adam Fischer box can be had for only 35 euro (29 pounds for 33 discs!) at Amazon DE. I can't vouch for the performances personally but many here do. It's an inexpensive way to get to know the symphonies.

Sarge

I've not yet heard the entirety of this set (which is the fault of neither Haydn nor Fischer!), but I started right with № 1, and enjoyed the musical strength of the work right out the gate.

[Que]

Thread duty:

F. Couperin
Pièces de clavecin
Livre IV, 25ème ordre
Noëlle Spieth

Muchas gracias, Antoine!

What do you think of Spieth's Couperin?

  How do you feel about his symphonies?  My first reaction to the symphonies were mixed, but that was 4 years ago.  I fear I might have misjudged them.

  marvin

I thouroughly enjoy them, yet they show another Haydn. Enjoyment is key there - and loads of inventiveness. Not that the SQ's don't have any of that, on the contrary - they do. But they show (to me) also other, more intimate, sides of Haydn personality: introspection and a more intellectual kind of wit, tenderness, even sadness.

Q

[North Star]

I should definitely get some Haydn symphonies - the quartets are the only Haydn I own, brilliant music.

Debussy
La mer
Nocturnes
Jeux
Images
Prélude à l'après-midi d'un faune, L. 86
Jean Martinon & Orchestre National de l'ORTF
[asin]B000BL99UK[/asin]

[Sergeant Rock]

Mozart Piano Concerto #13 C major, Malcolm Bilson, fortepiano, Gardiner conducting the English Baroque Soloists




Sarge

[Karl Henning]

What do you think of Spieth's Couperin?

Love it, Que!

Thread duty:

Our Gurn has said, more than once, that he could just listen to Haydn a way long time . . . may just try that to-day, in honor of Marvin's query viz. the symphonies.

Now:

"Papa"
Symphony № 45 in f# minor « Fare Thee Well » Hob.I/45
Amsterdam Baroque Orchestra
Ton Koopman

[Lisztianwagner]

Benjamin Britten
The Young Person's Guide to the Orchestra

[Karl Henning]

“Papa”
Symphony № 80 in d minor Hob.I/80
Freiburg Baroque Orchestra
von der Goltz

[Lisztianwagner]

Carl Nielsen
Symphony No.4

[TheGSMoeller]

"Papa"
Symphony № 80 in d minor Hob.I/80
Freiburg Baroque Orchestra
von der Goltz

Not familiar with that recording, but #80 is one of my absolute favorites, such a great contrast of minor-major-minor-major movements. And the syncopation in the finale forces toe tapping. 

[marvinbrown]

I thouroughly enjoy them, yet they show another Haydn. Enjoyment is key there - and loads of inventiveness. Not that the SQ's don't have any of that, on the contrary - they do. But they show (to me) also other, more intimate, sides of Haydn personality: introspection and a more intellectual kind of wit, tenderness, even sadness.

Q

While I am interested in Que's answer, too, Marvin . . . my direct response to the symphonies has always been delight.  There was a long period when my involuntary response was a sort of preventive bewilderment — How shall I ever get to know them all?  But the key is just not to worry about that, and enjoy each symphony as you hear it.

  OK done!  I have taken the plunge and ordered the Fischer set.  It is COMPLETE, cheap (thanks for the link Sarge!) and has gotten very good reviews. 

  Thank you all,

marvin

[Mirror Image]

The two Alan Bush symphonies (and the first really is more interesting though the scherso in no2 is earcatching), thentime to break out this set:

[asin]B000050IU2[/asin]

Disc 1; complete ouvertures, vol 1.

How is this, erato?

[Karl Henning]

“Papa”
Symphony № 91 in E^b Hob.I/91
La Petite Bande
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