What were you listening to? (CLOSED)

[Dancing Divertimentian]

Sibelius's 5th symphony, Barbirolli, Hallé Orchestra.

[Conor71]

Quote from: Jeffrey Smith on Today at 10:21:22 AM

We'll be looking for your post in the "Purchases Today" thread sometime in the next 24 hours.

[Mirror Image]

Sibelius's 5th symphony, Barbirolli, Hallé Orchestra.

Quite possibly one of the worst sounding Sibelius sets out there. Incredibly harsh brass. Hurts my ears to listen to that set. Thankfully, Vanksa, Bernstein, Ashkenazy, among others have cycles that are just as good if not better than the Barbirolli.

[Lilas Pastia]

Proceeding apace through different super bargain boxes, I listened to  some Van Cliburn romantic concertos - from RCA vaults. Just about everything is conducted by Reiner or Ormandy. Could be worse, don't you think?

After the initial disappointment of an overhyped Tchaikovsky 1st (Kondrashin) and overcooked, overgilded Chopin 1 (Ormandy), I struck gold with Cliburn's Rachmaninoff 2 and 3 (Reiner and Kondrashin, respectively). The chemistry between inspired soloist and great conducting, and superb recording made for instant returns to the turntable cd player. Great music, great, committed playing, superb sound.

Then it was time for Brahms 1 (Leinsdorf) and 2 (Reiner) and Grieg (Ormandy) concertos. Then it will be Schumann (Reiner again),  Rachmaninoff Rhapsody, Beethoven 3 (Ormandy) and 5 (Reiner).

Brahms concertos 1 and 2. I expected Leinsdorf to be less ferocious than Szell in I, and yes, he is actually more pensive, less edgy, more malleable. In return, we have a high-strung but warmly romantic soloist (to Fleisher's or Curzon's high-strung but somewhat unyielding pianism). The latter two are fabled recordings that leave me exhilarated but feeling beaten black and blue, whereas Cliburn and Leinsdorf make me feel uplifted after a warm yet gorgeously proud romantic experience - if that makes sense. No challenge to my all-time favourite, Gilels-Jochum (a top 50 recording of anything ever recorded), and a couple others like Donohoe-Svetlanov, Arrau-Kubelik or Katchen-Monteux - the latter two surprisingly exchangeable, depending if you expect the artistic vision to be pianist-led (Arrau) or conductor-led (Monteux). Both recordings have the good fortune to be perfectly abetted by their respective partners, resulting in equally valid visions.

The same partnership produces an even better Brahms 2. This time, they exchange places in the driver's seat. Reiner provides an immensely grand and ardent framework to Cliburn's surprisingly volatile, tensile reading. Masculine and feminine, if I can term it so. Rather like what you'd expect from Robert's conducting to Clara's pianism, from what I understand of their special relationship. The opening horn solo is to die for. I don't know if Reiner held a bayonet to his solo horn's throat, but this has to be the most liquid, seductive, golden-toned opening to that work I know of. What a fantastic way to launch the work! Some day I'll compare those first 30 seconds in a round of the recordings I own. And the solo cello in the slow movement is sooooo feminine and vulnerable - yet impeccably tuned throughout. In the tutti sections Reiner storms the heavens all right, but always within that brahmsian kind of restraint without which the result would sound vulgar. Lest it sound like this is an orchestral showpiece, I say it's just as much a soloist piece. It's a matter of the soloist asserting his/her musicianship on an equal level to that of the orchestra's. In this endeavour, Cliburn surprises mightily. His tone is big yet taut, his phrasing generous yet tightly-coiled.

Overall I think this is as satisfying any others, including the Szell or Ormandy led versions with Fleisher, Rubinstein or Serkin (I find the latter unalluring, a cardinal sin in Brahms interpretation - but I know I'm probably in the minority here) and better integrated than the Richteres (Leinsdorf or Maazel). But in the end, the even higher profile of Backhaus, Sokolov and Magaloff give them the edge as the most characterful versions I know of. Mind you, the various Rubinsteines hold their own splendidly. The pianist's golden cherry-wood tone and aristocratic swagger carry the day every time, whether it's with Ormandy, Dohnanyi or Krips.

I was really happy to hear Cliburn sail up straight toward the podium. It's a crowded field to be sure, but after those slightly undistinguished Tchaik and Chopin I, it was a good feeling indeed.

Grieg's A minor concerto. Conducted by Ormandy.  I'm afraid Cliburn has very little to say. The whole musical language seems to be somewhat alien to his artistic personality. If I'm not mistaken Cliburn was a rather introverted performer, catapulted to the footlights by his 1958 Moscow Tchaikowsky Competition win - a chasse gardée of russian pianists.  He was not entirely at ease with the flashy virtuoso repertoire anÔd the public expectations that came with his sensational showing in Moscow, but he gamely went along with the lucrative recording contracts that followed. Which were quickly dropped as even more sensational pianists came to the audiences' and recording studios' footlights, like Argerich, Ashkenazy, Pogorelich. Cliburn in the 60s was on that order of magnitude. A casualty of the public and impresarios' clamour for ever more pianistic prowess and 'personality' (please don't mention Lang Lang, I have to work tomorrow morning and don't want a bad night's sleep )

Still waiting for Beethoven 3-5, Schumann A minor and Rach Rhapsody (will duly report), but already I feel Cliburn is not just a media fabrication, but a genuine artist - sensible and patrician, yet fiery and red-blooded when it counts -  and a powerful technician. 2/3 of the way through, I find my expectations more than fulfilled. For that I must commend the A&R people at RCA for enlisting such major players as the BSO, CSO and Phil.O, and conductors like Reiner, Leinsdorf or Ormandy. Would that such talents were available today...

[Lilas Pastia]

Now playing CD13 - Mendelssohn Symphonies Nos. 3 & 4, etc from the following set for a first listen ...

Such a teaser... OK, now 'fess up: what's the verdictg ?

[Coopmv]

Now playing CD4 from the following set for a first listen ...

[Coopmv]

Such a teaser... OK, now 'fess up: what's the verdictg ?

This is an excellent set that includes many EMI singles by the Pittsburgh Symphony Orchestra/William Steinberg and pianists such as Rudolf Furkusny, etc.  that are OOP.  I am quite happy that I got the box at a great pprice early this year ... 

[Lilas Pastia]

Thanks! I've long held his Boston recordings among the best ever, but knew precious little about the Pittsburgh ones !

[Dancing Divertimentian]

Quite possibly one of the worst sounding Sibelius sets out there. Incredibly harsh brass. Hurts my ears to listen to that set. Thankfully, Vanksa, Bernstein, Ashkenazy, among others have cycles that are just as good if not better than the Barbirolli.

Boy, when your ears hurt, look out!!

But in this case my ears make easy work of whatever sonic imperfections are present in the recording and after just one or two bars of music I'm on to bigger and better things, such as basking in the wholly satisfying and engrossing Barbirolli-Sibelius light show.

And yeah I agree, Vanska is good, right up there with Barbirolli in fact in his extremely dissimilar way, but the only thing Ashkenazy has over Barbirolli is the modern sonics. Comparisons end right there, at least in the 5th.

[Mirror Image]

Boy, when your ears hurt, look out!!

But in this case my ears make easy work of whatever sonic imperfections are present in the recording and after just one or two bars of music I'm on to bigger and better things, such as basking in the wholly satisfying and engrossing Barbirolli-Sibelius light show.

And yeah I agree, Vanska is good, right up there with Barbirolli in fact in his extremely dissimilar way, but the only thing Ashkenazy has over Barbirolli is the modern sonics. Comparisons end right there, at least in the 5th.

I generally enjoy Barbirolli. It's a very unique cycle. That brass just kills the mood for me, but I've heard the entire cycle many times and I've overlooked this aspect before and I'll certainly do it again, but only when my ears stop bleeding.

[TheGSMoeller]

Watching the video of this here No.8(9), absolutely in love. But with how close I keep my already owned Minkowski discs to my player (Berlioz, Haydn, Rameau) I'm not surprised. And nothing can beat a live performance. On the second movement Andante now, so animated and playful yet so romantic, this movement not only represents the best of Schubert, but the best of the genre.

http://m.liveweb.arte.tv/fr/video/Marc_Minkowski_Musiciens_du_Louvre-Grenoble_8e_symphonie_Schubert/

I posted this in "New Releases", wanted to share it here.

[Wakefield]

In spite of the ugly cover, this disc is mandatory for Baroque opera lovers:

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Kermes' singing is simply outstanding, as the accompaniment of La Magnifica Comunitá. Additionally, a great part of the repertory is recorded for the first time here. A winner. 

[mc ukrneal]

Muti brings a stylish, Classical sound, very precise and nice harmonics, but when he gets into the later Romantic stuff, his approach and style do sound good but they don't fit into gnashing of teeth, clawing at sack-cloths, war charging on open ground or being stabbed by your lover (when necessary) .  Something like that, anyway.. .    But his Rossini Stabat Mater is OUTSTANDING!

I like his (Muti's) Tchaikovsky and think it much under-appreciated. I would rate his fifth, for example, better than Karajan. But I don't look for war, gnashing of teeth or the other stuff with my Tchaikovsky. In fact, that is not even what I think of when I listen to anyone in this, including Mravinsky (who is majorly intense). SO perhaps that explains the difference.

[Wakefield]

David Oistrakh (1908-1974) - 100th Birthday Edition

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CD 18
Franz Schubert - Fantasy in C major Sei mir gegrüsst!, D934 (Op. posth. 159). Rec. January 20, 1961
Edvard Grieg - Sonata for Violin and Piano No. 2 in G major, Op. 13. Rec. March 10, 1958
Antonín Dvořák - Mazurek (Mazurka) in E minor, Op. 49. Rec. October 31, 1954
Bedrich Smetana - from My Homeland No. 2 in G minor (Andantino). Rec. April 7, 1949
Piotr Ilich Tchaikovsky - "Méditation" (from Souvenir d'un lieu cher) Op. 42/1 & Válse/Scherzo Op. 34. Rec. April 7, 1949.

David Oistrakh, violin
With Vladimir Yampolski, piano
Live recordings

[Wakefield]

http://www.youtube.com/v/NnsnQ5vE-k0

Edvard Grieg - Sonata for violin and piano No. 2 in G major, Op. 13 - Allegretto Tranquilo
Freddy Varela Montero, violin
Viviana Lazzarín, piano

Beautiful excerpt from a recital at the Salón Dorado of the Teatro Colón in Buenos Aires.

It's nice to see the relaxed attitude of the audience. 

[Que]

1st run. I was able to get it as a bargain in the original issue - with full booklet!

Sounds gorgeous BTW.

Q

[val]

MESSIAEN:           Quatuor pour la fin des temps          / Gil Shaham, Paul Meyer, Jian Wang, Whun Chung

My favorite version of this work. Slow, but not too much, with a splendid instrumental sound and a sublime lyricism. The most poetic version I know of this Quartet. Jian Wang is very touching in the 5th movement but, there, I prefer the extraordinary eloquence of Anner Bijlsma (with Reinbert de Leeuw).

[Opus106]

I'd have to check if I even have that work (Wagner's Faust Overture)... But there's definitely a kinship with Mahler's 9th symphony, first or last movement - hard to spot a full musical phrase in such a big work after having listened to that mere snippet. But it's closely related to M9, even though it's not a full quotation (in foresight of course )

Having mulled over it, I think it somehow vaguely reminds of the 'Tristan chord' (or the 'tune' which contains it, rather). Doesn't have the same effect, of course. In any case, do let me know if you find a parallel in M9.

[Lisztianwagner]

Sergei Rachmaninov
Symphony No.1

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[Que]

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Oh, I already know I'm going to like this one! 

It does not sound very profound, but I'm fond of harpsichord music with a drive - and this fits the bill.

Q