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#1
General Classical Music Discussion / Re: What are you listening 2 n...
Last post by AnotherSpin - Today at 04:59:51 PMOnce again opus 106 in this Brendel recording.
#2
Composer Discussion / Re: Leonard Bernstein 1918-199...
Last post by lordlance - Today at 04:58:02 PMA new performance of Mass for those interested (a true rarity):
https://vk.com/video/@maximillianrichter?z=video737728344_456240076%2Fpl_737728344_-2
I can share the text for those interested.
https://vk.com/video/@maximillianrichter?z=video737728344_456240076%2Fpl_737728344_-2
I can share the text for those interested.
#3
Composer Discussion / Re: Mozart
Last post by lordlance - Today at 04:42:43 PMThere's something so joyous about PC17. I just heard the Bychkov/Pressler performance: https://www.digitalconcerthall.com/en/concert/16878
Brightens your day, no?
Having said that it's a bit disappointing how interpretively limited the Mozart PCs are. There's really not much there unlike with your juicy Romantic concertos. It's a bit interpreter-proof which for me makes listening to them kind of pointless because I listen to the warhorses always eager to hear a new interpretation. When the works come off well so easily regardless of who's playing them, listening to them becomes a bit bland admittedly (as great as the music is no doubt.)
Of course, I am no piano guy so perhaps piano folks can endlessly dissect phrasing whereas the orchestral parts all just need to be played as-is.
Brightens your day, no?
Having said that it's a bit disappointing how interpretively limited the Mozart PCs are. There's really not much there unlike with your juicy Romantic concertos. It's a bit interpreter-proof which for me makes listening to them kind of pointless because I listen to the warhorses always eager to hear a new interpretation. When the works come off well so easily regardless of who's playing them, listening to them becomes a bit bland admittedly (as great as the music is no doubt.)
Of course, I am no piano guy so perhaps piano folks can endlessly dissect phrasing whereas the orchestral parts all just need to be played as-is.
#4
General Classical Music Discussion / Re: What concerts are you look...
Last post by stingo - Today at 04:42:33 PMFauré Berceuse
Dvořák "Songs My Mother Taught Me," from Gypsy Songs
Assad Menino
Boulanger Cantique
Fauré Papillon
Shostakovich Cello Sonata
Pärt Spiegel im Spiegel
Franck Violin Sonata, transcribed for cello and piano
Yo-Yo Ma Cello
Kathryn Stott Piano
Verizon Hall (soon to be Marian Anderson Hall!)
April 12, 2024
I had the good fortune of having this chamber concert as part of my Philadelphia Orchestra subscription, and I was determined not to miss it. The first five works were all linked in some way to Nadia Boulanger, and were a pleasure to hear, especially since they were preformed without pause. I imagine these selections were meant to warm up the audience for the Shostakovich, which Ma described as telling the truth to power. Its ferocity stood in marked contrast to the introductory pieces, which I enjoyed.
After intermission, images from the Hubble and Webb telescopes were projected onto a large screen while the strains of Spiegel im Spiegel floated into the hall. This piece was my favorite, as the cello weaved in and around the piano's arpeggiated chords. Last but certainly not least was the lushly romantic Franck Violin Sonata, played with passion and lyricism for which the piece is known. They played a couple of encores which were not familiar to me, but I got the impression that encores were how they played together when not performing. It felt much more intimate than what was presented on the regular program.
All in all it was a very quick two hours, which I am so glad I got to experience.
Dvořák "Songs My Mother Taught Me," from Gypsy Songs
Assad Menino
Boulanger Cantique
Fauré Papillon
Shostakovich Cello Sonata
Pärt Spiegel im Spiegel
Franck Violin Sonata, transcribed for cello and piano
Yo-Yo Ma Cello
Kathryn Stott Piano
Verizon Hall (soon to be Marian Anderson Hall!)
April 12, 2024
I had the good fortune of having this chamber concert as part of my Philadelphia Orchestra subscription, and I was determined not to miss it. The first five works were all linked in some way to Nadia Boulanger, and were a pleasure to hear, especially since they were preformed without pause. I imagine these selections were meant to warm up the audience for the Shostakovich, which Ma described as telling the truth to power. Its ferocity stood in marked contrast to the introductory pieces, which I enjoyed.
After intermission, images from the Hubble and Webb telescopes were projected onto a large screen while the strains of Spiegel im Spiegel floated into the hall. This piece was my favorite, as the cello weaved in and around the piano's arpeggiated chords. Last but certainly not least was the lushly romantic Franck Violin Sonata, played with passion and lyricism for which the piece is known. They played a couple of encores which were not familiar to me, but I got the impression that encores were how they played together when not performing. It felt much more intimate than what was presented on the regular program.
All in all it was a very quick two hours, which I am so glad I got to experience.
#5
Composer Discussion / Re: Haydn's Haus
Last post by lordlance - Today at 04:33:38 PMQuote from: JBS on April 04, 2024, 07:03:58 PMOh, there's plenty of recordings I don't have.Are the Norrington performances any good? I would've thought they are instantly written-off for not using vibrato. Quite late in the game to not use vibrato, no?
And M2 has a special place for me, there's only a couple of recordings of it I don't like.
And both of them happen to be conducted by Abbado (the Vienna Phil. and Lucerne Festival recordings)--although his middle one, with the CSO, is very good.
I also wasn't keen on Norrington, although I like his other Mahler recordings.
Other than that they're all good.
#6
General Classical Music Discussion / Re: What are you listening 2 n...
Last post by Symphonic Addict - Today at 04:32:18 PMHartmann: Concerto funebre, for violin and strings (Benjamin Schmid, Paul Goodwin, SWR Rundfunkorchester Kaiserslautern)
This is really an interesting concerto, one that has soul and ideas that catch my ears more than, for instance, Berg's example which has never moved me (I heard it live three weeks ago and it didn't help to enjoy/appreciate the piece).
This is really an interesting concerto, one that has soul and ideas that catch my ears more than, for instance, Berg's example which has never moved me (I heard it live three weeks ago and it didn't help to enjoy/appreciate the piece).
#7
GMG News / Re: Bug Report 2024
Last post by brewski - Today at 04:09:14 PMJust when I was about to add another "it's slow" comment, suddenly the board is back to its faster speed. (8:07 pm, EDT)
No idea, but thanks for whatever you're doing, Rob.
-Bruce
No idea, but thanks for whatever you're doing, Rob.
-Bruce
#8
General Classical Music Discussion / Re: What are you listening 2 n...
Last post by Dry Brett Kavanaugh - Today at 04:08:50 PMQuote from: vandermolen on Today at 12:13:03 AMWalton: Symphony No.1
Philharmonia Orch. Haitink
I'd forgotten what a fine performance this is. Haitink treats it a bit like Bruckner or Mahler - the slow movement is especially impressive given this treatment, however I was gripped throughout.
Wonderful recording!
#9
General Classical Music Discussion / Re: What are you listening 2 n...
Last post by Dry Brett Kavanaugh - Today at 03:57:18 PMBartók: Violin Concerto No. 2. Andre Gertler, Czech Philharmonic Orchestra/Karel Ancerl.
#10
Opera and Vocal / Re: What Opera Are You Listeni...
Last post by brewski - Today at 03:47:52 PMOh happy day: OperaVision has uploaded the new production of Salome by the Irish National Opera, with costumes and an intriguing nautical set design by the great Leslie Travers. The title role is sung by Sinéad Campbell Wallace, and the conductor is Fergus Sheil.
-Bruce
-Bruce