What were you listening to? (CLOSED)

[The new erato]

I'll return to R&J in the future, but it just didn't interest me enough to keep listening.

It's a pretty dull opera. Outside of Faust, I find very little in Gounod of interest.

[listener]

finishing off the MOZART piano trio set with
K.548 in C    K.564 in G
London Fortepiano Trio
I've upped the volume, hoping that there will be more "presence".  The performances have seemed rather detached, and. in fact, rather dull.
then Scott Ross at the organs of Cuers and Gimont playing
ARAUXO, BACH, BULL & FRESCOBLDI
1975/77 recordings

[PaulR]

.[asin]B0001TSWPU[/asin]
Symphony Fantastique (1962 recording)

[Karl Henning]

.[asin]B0001TSWPU[/asin]
Symphony Fantastique (1962 recording)

(* pounds the table *)

[Opus106]

then Scott Ross at the organs of Cuers and Gimont playing
ARAUXO, BACH, BULL & FRESCOBLDI
1975/77 recordings

I wasn't aware of his recording(s?) on the organ. How is it?

TD, sort of: just finished with a night of Bartók orchestral works, which hit all the right spots. Dance Sutie, Two Pictures and the Divertimento for String Orchestra. Boulez and CSO.

[Karl Henning]

Again!

The Gazebo Man
Phantom Travels, Op.9
(MIDI realization)

[Conor71]

Quote from: Lisztianwagner on July 30, 2012, 02:24:01 AM

The

Pathetique is my favourite Tchaikovsky's symphony along with No.4, such a very passionate, intense and haunting work; Jansons performs it beautifully, I think he really captured the deep essence of the composition. Please, let me know what you think about this set once you've finished.

I've listened to all of this set now and I think its pretty wonderful - the playing from the Orchestra is great and the sound is really good too. I liked the performances of all of the Symphonies and there appeared to be plenty of enthusiasm. I think I will probably play this set quite a bit in future and will probably have no need to get other performances of the Tchaikovsky Symphonies as I am very satisfied with these

[PaulR]

.[asin]B000003EUG[/asin]
Tchaikovsky Piano Concerto #1 in Bb Major

[Karl Henning]

Maiden-Listen Mondays! (This recording, bien sûr)

Сергей Сергеевич [ Sergei Sergeyevich (Prokofiev) ]
Симфония № 7 cis-moll, соч. 131 [ Symphony № 7 in c# minor, Opus 131 ]
Orchestre National de France
Мстислав Леопольдович [ Mstislav Leopoldovich (Rostropovich) ]

[asin]B0013LUD9I[/asin]

[Lisztianwagner]

Quote from: Lisztianwagner on July 30, 2012, 02:24:01 AM

The

Pathetique is my favourite Tchaikovsky's symphony along with No.4, such a very passionate, intense and haunting work; Jansons performs it beautifully, I think he really captured the deep essence of the composition. Please, let me know what you think about this set once you've finished.

I've listened to all of this set now and I think its pretty wonderful - the playing from the Orchestra is great and the sound is really good too. I liked the performances of all of the Symphonies and there appeared to be plenty of enthusiasm. I think I will probably play this set quite a bit in future and will probably have no need to get other performances of the Tchaikovsky Symphonies as I am very satisfied with these

I'm very pleased to hear that; glad you liked Jansons' set box!

[listener]

I wasn't aware of his recording(s?) on the organ. How is it?

The organs are in south-west France and Provence, the Gimont one sounds like mean-tone tuning. rather snarly like the reedy Spanish ones.    Pieces don't have a lot of pedal so Scott as a harpsichordist does not have a lot of challenge with footwork and of course can keep the keyboard moving.  Good registrations and recorded sound.     Was a refreshing change from the Mozart trios.   ADD recording, CD date is 1992.   If he recorded the Couperin organ masses as the note hint, I'd love to get them.

Thread duty: a couple more piano trios, this time
Carl LOEWE Grand Trio op. 12    and de BÉRIOT trio 2, op. 58
Hans Maile, violin     René Forest, cello      Horst Göbel, piano
An adjunct to your collections of Loewe songs (did I not see a 21-disc set  recently?) and Bériot violin concertos.

[Opus106]

The organs are in south-west France and Provence, the Gimont one sounds like mean-tone tuning. rather snarly like the reedy Spanish ones.    Pieces don't have a lot of pedal so Scott as a harpsichordist does not have a lot of challenge with footwork and of course can keep the keyboard moving.  Good registrations and recorded sound.     Was a refreshing change from the Mozart trios.   ADD recording, CD date is 1992.   If he recorded the Couperin organ masses as the note hint, I'd love to get them.

Much appreciated. Thanks.

[Papy Oli]

good evening all 

1st listen to Shostakovitch - 15th Symphony in A Major Op.141 (Barshai / WDR)



Right ...some William Tell quotes in the first movement, a great cello in the second one....the rest is a bit...weirder... 

[TheGSMoeller]

Maiden-Listen Mondays! (This recording, bien sûr)

Сергей Сергеевич [ Sergei Sergeyevich (Prokofiev) ]
Симфония № 7 cis-moll, соч. 131 [ Symphony № 7 in c# minor, Opus 131 ]
Orchestre National de France
Мстислав Леопольдович [ Mstislav Leopoldovich (Rostropovich) ]

[asin]B0013LUD9I[/asin]

Aha! Me likes this one, your thoughts, Karl?

[pi2000]

Wagner Der fliegende Holländer
Behrens-Grundheber-Segerstam(conduct)
[asin]B00022EFIY[/asin]

[Karl Henning]

Aha! Me likes this one, your thoughts, Karl?

Still mulling, Greg. In places, a bit heavier of tread than I think I quite like.  Overall, a very musical performance . . . there are just these several points in the score where what I am hearing makes me stop mentally and think, Why is he doing that?  But at this point, I am not sure if this is genuinely objectionable or merely an exercise to expland my ears.  So:  more listening is called for.

[prémont]

Pieces don't have a lot of pedal so Scott as a harpsichordist does not have a lot of challenge with footwork and of course can keep the keyboard moving. 

Scott Ross was rather brilliant with his feet too, as his recording of the Dorian toccata and fugue BWV 538 proves.

[jlaurson]

good evening all 

1st listen to Shostakovitch - 15th Symphony in A Major Op.141 (Barshai / WDR)

Right ...some William Tell quotes in the first movement, a great cello in the second one....the rest is a bit...weirder... 

In the essay that accompanied the recording of Maxim Shostakovich (said to be the best performance of Shostakovich's son on record – but to my knowledge not available on CD) Shostakovich spoke of the first movement Adagietto as a "toy-shop with plenty of knick-knacks and trinkets – absolutely cheerful". No listener will get away from the first movement without doubting the composer's own words. If it is a toy-shop at all, it's one that sells little tanks, toy-guns, and junior's first torture-kit. It's a romp with its share of plink and delicate chirping, but this collection of trivialities amid intensity, with crashing marching bands and ballerinas, sounds like a sugarplum fairy-cum-guerilla fighter. There are moments that remind of the 2nd and 9th Symphony, and it's always interrupted by the seemingly random William Tell overture excerpt that all American audiences can identify as the "Lone Ranger" theme.


It's not impossible that Shostakovich knew the Lone Ranger and his heroic deeds (or his appeal to children, which would go with the toy-shop story) – but it's more likely the Rossini original that inspired him. And that's telling enough: A story about a man who is coerced to use his skill (archery, in Tell's case) according to the bidding of a despot – who then uses that skill to fight against tyranny. If anything it seems that Shostakovich, in the hospital while composing this movement, had dispensed with being subtle in his political statements.


The strange giddiness of the first movement is immediately subdued by the grave brass chorale that opens the dark second movement. Phases of rest and answer and the cello's lamenting song lead into trombone and violin statements that are everything but "absolutely cheerful". Trombone glissandi (the ones that enraged Stalin in Lady Macbeth) are employed and eventually the subdued movement wakens and rises slowly to a big orchestral thrashing-about. It's much like the Shostakovich from Symphonies 4, 7, 8, and 11 – but with an incredible efficiency of means, almost chamber-like in proportion and scoring.


The little, friendly third movement (Allegretto) has moments that are nearly Haydnesque before the fourth movement takes over with another blatant musical quotation – this time Wagner's 'ensuing death' (or "fate") motif from the Ring, already foreshadowed in the Adagio of the second movement. The yearning opening of Tristan & Isolde also appears several times, completing the atmosphere of resignation and departure. More difficult to hear, if you don't know about them, are references or quotations of a Glinka song, twelve-tone rows ("bourgeois decadence!"), Strauss' Heldenleben (the "adversaries" phrase, third movement), and many others that I will have missed completely. In this fourth, as in the second movement and in so many of his other symphonies, there is the gathering of momentum, the orchestral outbreak, the swoop up... here leading to a Passacaglia – and then the symphony dithers away in a morose mood over ghastly tic-tocs of a clock and a last, faint glimmer of percussive hope.
...
http://ionarts.blogspot.de/2008/01/dip-your-ears-no-88.html

thread duty: schubert symphonies 1 & 2 / zinman / tonhalle

[stingo]

Bach: Cello Suites 1, 3 and 5 - Ralph Kirshbaum/Virgin

[mahler10th]

Oh it is so good.



Bartok was such a brilliant and creative man.
Solti knew how to find the drama in it all.