What were you listening to? (CLOSED)

[Harry]

In honour of Harry, who has just heard it for the first time, I'm listening to Brian's Third Symphony.

Tell me about this recording Johan.

[wintersway]

Good morning/day to all!

[Harry]

Joseph Haydn.


Harmoniemesse.


Ann Monoyios, Soprano.
Barbara Holzl, Mezzo.
Jorg Hering, Tenor.
Harry van der Kamp, Bass.
Tolzer Knabenchor.
Tafelmusik/Bruno Weil.

Well the recording is better as in the Schopfungsmesse which is coupled with the Harmoniemesse.
And Holzl behaves herself better. Choir is better in balance. All in all a better impression.
And I love this Mass very much.

[marvinbrown]

For tonight this:




  marvin

[J.Z. Herrenberg]

Tell me about this recording Johan.

Well, it's simply the same Hyperion recording you listened to, Harry. I felt like re-experiencing this work once again, it had been so long. And what a marvellous work it remains! Lionel Friend's tempi are for the most part spot-on. I always get a kick out of Brian's bass, the deep sound his music makes (helped in this work by two tubas, I saw them in the flesh in 1988, at the Maida Vale studio).

[Harry]

Robert Schumann.

Symphony No. 3.

Tonhalle Orchestra Zurich/David Zinman.

This recording is almost state of the art, with a near perfect front to back stage, and wonderful detail, at every turn. Simon Eadon has outdone himself no doubt. Especially the Brass and Strings sound marvelous.
But allthough the sound was good, I am a tad disappointed this time.
His tempi apart from the last movement are to slow to my ears. Hear me right, I think the interpretation topnotch, but this fast eagerness from the 1 & 2 symphony is somewhat lost. Added to that the first movement sounds to deliberate,, there is no flow in the Strings let alone woodwinds. He keeps to tight a grip on the tempi.The internal movement suffers also at times, which is irritating, you want to push it forwards, like Gardiner does.
But quibbles apart, this is a recording to have and to hold, for amidst his fellow conductors this is a real gem.

[Harry]

Well, it's simply the same Hyperion recording you listened to, Harry. I felt like re-experiencing this work once again, it had been so long. And what a marvellous work it remains! Lionel Friend's tempi are for the most part spot-on. I always get a kick out of Brian's bass, the deep sound his music makes (helped in this work by two tubas, I saw them in the flesh in 1988, at the Maida Vale studio).

Yes you are right, and the percussion that underlines some of the melodies, make my stomach vibrate, and the rest of my household.
With Friend you get the impression that all is fine, and apart from some more air around the instruments, this is quite a achievement.
Will play it again today, once is never enough with Brian.
That must have been quite a treat to see them play the piece, and to be there.
Well all I can say, I saw quite some live performances by Karajan.

[J.Z. Herrenberg]

"That must have been quite a treat to see them play the piece, and to be there."

Hearing Brian live is an extraordinary experience. I was also in Liverpool, in '87, when the Royal Liverpool Philharmonic, under Mackerras, played his Seventh Symphony. Unforgettable. The power, colour and excitement of it! There's nothing quite like it.

But seeing Karajan isn't bad either

[DavidW]

Handel's Messiah-- Suzuki below the green lemon.   Well the vocalists suck, but the instrumental playing is great.

[Harry]

Robert Schumann.

Symphony No. 4, in D minor.

Tonhalle Orchestra Zurich/David Zinman.

Well it seems that Zinman used so much of his energy in the first two symphonies, that he was quite out of breath the poor sod. For what I find about the Third regarding the tempi, is also to be copied onto the Fourth, apart from the last exhilarating last movement, in which he finds something back of the old fire. And what is a constant factor in this performance is that he holds the orchestra back, when it is in the nature of the composition to speed up things, and some internal tempi's are on such a tight reign, that it sounds deliberate again. If you have a good ear for this kind of tempi, or in general have a good feel for the flow in music, this will cause some eyebrows to be lifted high up almost to your hairline. It did with me.
And again whatever the quibbles, this is also a performance to be treasured, whatever my misgivings.
Gardiner still rules in this, although he is not without fault, in that his speeds are sometimes to fast.

[Harry]

Handel's Messiah-- Suzuki below the green lemon.   Well the vocalists suck, but the instrumental playing is great.

Prepare for the firing squad!

[Novi]

Inspired by the Bach cantatas thread:



Jesu, der du meine Seele BMV 78

The aria 'Wir eilen mit schwachen' has long been a favourite .

[DavidW]

Prepare for the firing squad!

hehe It's a fantastic compliment to Richter because it's not slow and uses quite small forces.  And it's also different from Hogwood, because Hogwood is in a class of his own with a very distinctive sound.  And the mp3s from eclassical sound REALLY GOOD!!  I'm really happy, that was a great $6 bargain.

[Harry]

Samuel Scheidt. (1587-1654)


Tabulatura Nova I. (Sswv 102-114)

Cantio Sacra "Wir gleuben all an einem Gott"

Fantasia super "Io son ferito lasso". Fuga Quadruplici.

Cantio Sacra "Vater unser im Himmel".

Fantasie super, Ut, Re, Mi, Fa, Sol, La, a 2 3 & 4 voici.

Cantio Sacre "Warum betrubestu dich mein Hertz".

Franz Rami, Organ and Harpsichord.
Christina Landshamer, Soprano.
Bernhard von Tucher, Harpsichord.

Wonderful old music well performed and recorded. It is giving you rest just to listen to this contemplative music. More and more I get into the habit of collecting such music from those times, and there is already a separate section in my listening room devoted to that era.
The Soprano has a adequate voice, but not much more, a bit raw, and short of enough breath.

[longears]

The past few days I've been on a Mozart Piano Cto kick--last night, for instance, Goode #20 & Schiff #s 27 & 24, this morning Uchida #19.  Looking forward to the van Immerseel set recommended so highly by others.

[Harry]

Samuel Scheidt.


Tabulatura I.

Passamezo for Harpsichord.
Niederlandisch Liedgen, Cantio Belgica, "Weh windgen weh"  & "Ach du feiner Reuter".
Frantzosisch Liedgen, Cantio Gallica, "Est ce Mars".
Psalm "Da Jesus an dem Creutze Stundt".
Fantasia super, "Ich Ruffe zu dir Herr Jesu Christ".

Christina Landshamer, Soprano.
Franz Rami, Harpsichord.

Absolute joy to hear this. It brings you back in time just by hearing it. As with Volume I, I feel very comfortable with this music.

[dtwilbanks]

[Harry]

Very good choice, for this is a fine recording and performance.

[dtwilbanks]

Very good choice, for this is a fine recording and performance.

Thanks, Harry. You should go into our Purcell thread and review what's posted there. We'd appreciate it!

[orbital]

Weber Op49 played by Richter (from the Prague set). Very nice. Weber's op 49 beats BEethoven's