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The Diner / Re: One Word Posts
« Last post by LKB on Today at 02:18:30 PM »

The Diner / Re: One Word Posts
« Last post by LKB on Today at 02:17:51 PM »
Met [2017]


As much as l admire RF, I'm hoping he wore that because:

A, he lost a bet, or

B, it was for charity.
General Classical Music Discussion / Re: What are you listening 2 now?
« Last post by SimonNZ on Today at 02:09:49 PM »
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Great Recordings and Reviews / Re: Box Blather
« Last post by Brian on Today at 01:46:27 PM »
  Perhaps you've talked about this in other threads? I'd be curious about your impression.  I love what little I've heard by them. I really like stripped down performances (Listening to Cafe Zimmerman right now).
Karl has listened to almost two-thirds of the box and he is going in order - go through his comments in the listening thread. I've listened to 28 CDs in full and parts of 6 more (including, on the Saint-Saens cello album with Mischa Maisky, everything except "Le cygne"). Generally speaking, everything has been fabulous. The worst performances I've heard aren't bad, they're just normal, this-is-fine type performances. (Cough, Rodrigo, cough.) The best...well Orpheus has several amazing qualities. One is the precision and energy which they achieve without a conductor. The playing on albums like Rossini overtures, all things Stravinsky, and the Bartok Divertimento/Dances is totally virtuosic, exciting, witty, and fun, without any leader "whipping them into shape."

Generally speaking their Haydn has incredible wit and sparkle and sensitivity. It sings and chuckles and although the playing is much too professional and American to be described as "rustic" or "rough and ready" or similar, it also never becomes genteel or fuddy-duddy. Probably my favorite performance of 80 ever, and 80 is my favorite Haydn symphony. The Mozart recordings have totally rejuvenated my interest in Mozart. I listened to the disc with the two Sinfonias concertante today and holy cow - absolutely the best in modern instrument Mozart. Somehow they strike the same balance as in Haydn, avoiding the sleepy "baby loves Mozart" preciousness and hero-worship of some performers while playing the music with absolutely ridiculous beauty.

What else...the Gil Shaham album has me thinking I should get the Gil Shaham complete box. (Naturally, the price tag on that has shot up.) The Weber/Rossini clarinet disc is total joy, and Patrick Gallois is absolutely amazing in the Vivaldi flute concertos. The Kodaly Summer Night and Hungarian Rondo were total amazing surprises to me. Their Copland is correctly legendary. There is some debate about the Handel recordings since they are decidedly not HIP, but they are stylish, tasteful, and showcase all the soloists well. Plus I already have Savall for Water/Fireworks Music and Pinnock for Op. 6. Unfortunately I did not enjoy the disc of premiere recordings of music from the 1980s. As mentioned, the Rodrigo is eh-whatever, as are the English and French albums.
Composer Discussion / Re: Sergei Taneyev's Tent of Twirbling Tones
« Last post by OrchestralNut on Today at 01:36:04 PM »

You are hereby APPROVED !   8)

I had a few minutes tonight and decided to stop by quickly!

Having retired from teaching in June, I have been punished with constant work, usually physical, involving preparing our house for sale and then preparing for our move to a new/old house.

Let's just say that almost every day brings another problem or crisis, which demands our work, our money, or (usually) both.

The result is that I am rarely on the computer for much of anything.

Allow me to recommend this Taneyev work:

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Thank you for sharing. I'll have to check this out, as I don't believe I have heard this particular work before!  :)
Composer Discussion / Re: Sergei Taneyev's Tent of Twirbling Tones
« Last post by OrchestralNut on Today at 01:35:03 PM »
Taneyev: String Trio in B minor [Leopold String Trio]

I really like the beguiling and somewhat wistful opening to the first movement. What strikes me from the beginning of this movement is that this work is very conversational in nature; argumentative even. The tone is sombre; serious even. The tone and the mood is dark, intense and melancholic. The music has a great spirited presence nonetheless. Once again, there is a beguiling and somewhat wistful opening theme. The variations are always interesting, engaging and exciting in their varietal contrast and appeal. Once again, I find the music to be rather expansive given the forces employed.   

The performances of the Leopold String Trio are powerful, engaging, expansive and revealing throughout the performances on this CD.

This completes your opening journey into Taneyev's chamber music. There is more to explore my friend!  :)
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Composer Discussion / Re: George Lloyd
« Last post by J.Z. Herrenberg on Today at 01:11:51 PM »
The Seventh was my introduction to Lloyd's music. I remember being blown away by the huge climax to the finale, thinking at the time it was one of the most cataclysmic things I'd ever heard.

Yes, it's a stunning moment. It carries the weight of the whole symphony, and, perhaps, of Lloyd's whole symphonic oeuvre (something claimed for the main climax of Bax's Sixth, which I always find a bit underwhelming...).

P.S. Another cataclysm - the climax of Reinhold Glière's Third Symphony, also in a Downes performance...
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