What are you listening to now?

[Mandryka]

I thought you knew Winsome Evans' and Robert Hill's arrangements. Bob van Asperen has also arranged a few of the violin pieces for harpsichord.

Ah yes, I wasn't thinking  . . .

[aligreto]

Langgaard: Antikrist, Act 2 [Dausgaard]





This is a first listen to this work for me. There is some simply wonderful music in this work and I really like it, its atmosphere, its musical language, its tension and its drama. It is a powerful work given a compelling performance here from all concerned and the work, and this performance, is warmly recommended.

[Mahlerian]

Stravinsky: Symphony in C
Finnish Radio Symphony Orchestra, cond. Saraste
[asin]B00005UVAQ[/asin]

An unusually slow interpretation of one of the defining works of Stravinsky's middle period.  Not badly played at all, but I would prefer a little more rhythmic zest.

[prémont]

This is a transcription for four celli of most of Bach's Orgelbüchlein.

Well, sometimes I think the most important purpose of transcriptions is to make it possible for other musicians to play the music, particularly when the transcription (or performance) adds so little of interest compared to the original as here. And these four musicians go wrong with the affects of the pieces in question very often, and little by little some disturbing sameness also sneaks in. The style of playing is a bit oldfashioned. I am afraid that there was very little for me to enjoy.

[Zeus]

Le Rossignol Eperdu
Billy Eidi
Timpani

[asin] B00NO5BVEC[/asin]

[aligreto]

Soler: Harpsichord Sonatas Nos. 35 & 116 [Rowland]

[listener]

hot day, but I feel more organized and can plan these three with recognizable composers but unfamiliar works
BRITTEN: Portsmouth Town    BBC S.O.  Grant Llewellyn, cond..
Nocturne    BBC National O. of Wales   Douglas Bostock, cond.  Andrew Kennedy tenor
Grace WILLIAMS:  Ballads for Orchestra    BBC S.O.  Baldur Brönnimam cond.

CHADWICK: Symphonic Sketches   MacDOWELL: Suite for Large Orchestra
Johann F. PETER:  SInfonia in g
Eastman-Rochester O.      Howard  Hanson cond.

PROKOFIEV: Zdravitsa op. 85   
TCHAIKOWSKY; Ode to Joy    Romeo and Juliet Overture – original version
London Philharmonic      Derek Gleeson cond.
Geoffrey Mitchell Choir (Zdravitsa)   London Phil.

[Malx]

The two discs of this twofer between yesterday evening and tonight.

[TheGSMoeller]

Trois Couleurs: Bleu original soundtrack
Zbigniew Preisner

[André]

Well-known and little-known works by Schumann. I like Ciocarlie's way with the composer, catching both his serious and his unpretentious sides.

[Zeus]

Portrait of the Artist as a Starved Dog
Graindelavoix, Björn Schmelzer
Glossa

[asin] B075MR91KK[/asin]

Not sure what I've gotten myself into.

[GioCar]

Romitelli: Audiodrome - Dead City Radio

[asin]B000TLA974[/asin]
A truly energetic way to wake up on Sunday morning.

[Daverz]

Two very impressive concertos by Saygun

the Cello Concerto

[asin] B000YPW5IG[/asin]

and the Violin Concerto

[asin] B0009JVOJI[/asin]

https://www.prestoclassical.co.uk/classical/products/7937880--saygun-symphony-no-4-op-53-etc

And closing the evening with a charming Violin Sonata in B-flat major by Eberl.  Definitely investigate if you love early Beethoven.

[asin] B077MT9GYG[/asin]

[Harry]

Portrait of the Artist as a Starved Dog
Graindelavoix, Björn Schmelzer
Glossa

[asin] B075MR91KK[/asin]

Not sure what I've gotten myself into.

One of the best productions of Graindelavoix!

[Que]

Morning listening is volume IV of the Leiden Choirbooks:

[asin]B00CHFOCNW[/asin]
This volume consists entirely of 4 and 5-part motets in a mix of famous and unfamiliar names: Thomas Crecquillon, Johannes Lupi (Jean Leleu), Johannes Richafort, Nicolas Payen, Ciprianus de Rore, Johannes Flammingus, Eustacius Barbion, Jacobus Clemens non Papa, Franciscus IJsenbaert and Philippe Verdelot.

Amazon review by Stephen Midgley

Q

PS I'm not posting an image of the entire set anymore, since it has ran OOP.

[Que]

One of the best productions of Graindelavoix!

So, if (when) I will try them, I should start with that disc. 

Q

[Mandryka]

This is a transcription for four celli of most of Bach's Orgelbüchlein.

Well, sometimes I think the most important purpose of transcriptions is to make it possible for other musicians to play the music, particularly when the transcription (or performance) adds so little of interest compared to the original as here. And these four musicians go wrong with the affects of the pieces in question very often, and little by little some disturbing sameness also sneaks in. The style of playing is a bit oldfashioned. I am afraid that there was very little for me to enjoy.

I'm listening to 622 now, it's very good, and I'd say revealing.

More generally,  I like the idea in fact, the idea of playing it with four naturally singing, voice-like instrument with the same basic tonality, and all that brings to the music in terms of phrasing. I'm reminded of this comment that Marie Claire Alain made in the context of a discussion about AoF

For the 18th century composer the same piece passed indiscriminately from the keyboard to the bow. The organist must consider the possible bowings in his search for the correct phrasing, while the violinist (or singer) is often obliged to consult the keyboard.

For me the biggest problem was the lack of interesting transitions from one piece to the other, lots of short pieces separated by silences, the effect becomes eventually irritating.

(By the way, it's a very strong comment that, by Alain, when she says "passed indiscriminately from the keyboard to the bow" She surely can't be right about all keyboard music, can she?  But she may be right about organ music. )

[Harry]

So, if (when) I will try them, I should start with that disc. 

Q

Sampling is always a wise move. My taste is not necessarily your cup of tea. But yes it is a good disc to start with, although many members will disagree.

[Christo]

[prémont]

I'm listening to 622 now, it's very good, and I'd say revealing.

More generally,  I like the idea in fact, the idea of playing it with four naturally singing, voice-like instrument with the same basic tonality, and all that brings to the music in terms of phrasing. I'm reminded of this comment that Marie Claire Alain made in the context of a discussion about AoF

For me the biggest problem was the lack of interesting transitions from one piece to the other, lots of short pieces separated by silences, the effect becomes eventually irritating.

(By the way, it's a very strong comment that, by Alain, when she says "passed indiscriminately from the keyboard to the bow" She surely can't be right about all keyboard music, can she?  But she may be right about organ music. )

To display the delicate affects of Bach's organ chorale preludes is not only a question of phrasing (and articulation) but just as much a question of balance and timbre. On the organ with two manuals and pedal you can give each part its own (for the affect) suitable timbre and thereby also decide the balance of the parts. All this is corrupted in the cello version, which appears just like a plate with undefined cello soup.