What are you listening to now?

[vandermolen]

I was impressed by Fricker's symphonies 1-4 (on Lyrita). Having #2 coupled here with the Simpson 1 is instructive. Both symphonies were composed in 1951. Their jagged rythms, busy figurations and acerbic outlines mark a departure from the previous generation's contribution to the symphonic litterature. Robin Orr's symphony was written in 1963. I find it darker, weightier than the other two works even if a strong sense of urgency is again a defining characteristic.

This is not music that readily appeals to the ear. This disc procures much in the way of intellectual stimulation, keeping the mind engaged and challenged at all times. It's quite surprising to note that at the same period Arnold and Arnell were pursuing their own symphonic agenda in totally different directions.

I think that the last couple of minutes of Fricker's Second Symphony are very exciting. Simpson's No.1 is my favourite of his cycle and best of all, in my opinion, is the craggy Orr Symphony which I really like.

[Roasted Swan]

I'm very interested to hear your views on this Cesar. I have both sets (Chandos and Lyrita) and haven't listened to either properly ( ).
As with Andre your post is an encouragement for me to persevere with this work.

For what its worth - I prefer Lyrita/Del Mar.  Partly because I'm sorry that Chandos went to all that effort but then cut the work and partly because Del Mar seems to have a more dynamic vision of the work.  Too much languor in this type of music is perilous!

[king ubu]

[Florestan]

Piano Sonata in B-flat minor Op. 21

[king ubu]

Today's listening

Liszt
Harmonies poétiques et religieuses
Osborne
[asin]B0000Y37D8[/asin]

Got to revisit this one soon - have fond memories, but it's about 4 years since I played it repeatedly. Just tried to take if off the shelves, but it wasn't where I thought it was, aaarrgh 

[Traverso]

De Leidse Koorboeken

Book 6 CD 2

[Florestan]

Piano Sonata in B-flat minor Op. 21

Another half-an-hour long emotional and spiritual whirlwind, in turns turbulent and dreamlike, passionate and serene, fierce and tender, defiant and melancholy, expansive and nostalgic--- a hyper-romantic work of great beauty and appeal.

[aligreto]

Corelli: Concerto Grosso Op. 6 No. 2 [Virtuosi Di Roma]

[aligreto]

[asin]B000003574[/asin]

Let me just add my own endorsement for that wonderful set.

[Christo]

I have both sets (Chandos and Lyrita) and haven't listened to either properly ( ).

Continuing tragedy of the GMG forum in one line. 

[steve ridgway]

CD 3, Agon by Stravinsky. I am totally ignorant of Stravinsky so have no idea how representative it is, but it sounds all right to me, quite rapid, whirling and dynamic, lots of little themes that get repeated now and again. The end of the piece seems to go back to themes from the start so I think it'll make more sense and flow better as I remember more of it. Possibly previous listening to Henry Cow albums has helped me appreciate it.

[asin]B00TQNMCDU[/asin]

AKA

[aligreto]

One of my LPs I played most often, in those days - both sides BTW. 

Happy memories then 

[Biffo]

For what its worth - I prefer Lyrita/Del Mar.  Partly because I'm sorry that Chandos went to all that effort but then cut the work and partly because Del Mar seems to have a more dynamic vision of the work.  Too much languor in this type of music is perilous!

I didn't realise the work had been cut on the Chandos/Handley recording but what you get is more than enough for me. I found that dipping into it at almost any point there was some beautiful music but trying to listen to the whole thing from the start was impossible. I have tried several times but never got to the end

[vandermolen]

Continuing tragedy of the GMG forum in one line. 

How true!

[aligreto]

D Scarlatti: Harpsichord Sonatas K. 260/308/309/429 [Verlet]





All are buoyant performances with great presence played on a wonderfully sounding instrument caught on a good recording.

[steve ridgway]

CD 3, 7 Studies on Themes of Paul Klee by Gunther Schuller. Very nice, the 7 short pieces were varied indeed, at one point all Middle Eastern and at another the orchestra managed to play jazz .

[asin]B00TQNMCDU[/asin]

AKA

[Madiel]

That settles it, then.

It really doesn't. As a left-hander and a fan of Occam's Razor, I am mystified why you are all so damn determined to find an explanation as to why characters in a painting are left-handed besides the simple fact that the composition of the picture benefits from it.

You have two angled lines of figures. Which arrangement of hands is going to show the hands best? How is the picture affected if we switch which hand is strumming the lute, eh? Where are the neck of the lute and the bow of the cellist pointing?

And I note that until now there was a refusal to even accept the characters WERE left-handed. All that nonsense about every image on the internet being reversed, and about how etchings are made.

Florestan went to the effort of producing extra proof, and what's the response? Gee whiz, we can't deny it any more. Now we have to explain it away. We couldn't be bothered coming up with this explanation weeks ago, but now we have to. Tidily done in a couple of posts. "Settled".

Post after post conveying how deeply abnormal it is to be left-handed because of one picture that doesn't fit your norm. Thanks a bunch. Remind me to go around pointing out all the right-handed characters in images and tittering about it.

EDIT: If you are going to insist on A Reason, consider studies that show left-handers are actually over-represented in musical ability. According to Scientific American, "A study of musicians in professional orchestras found a significantly greater proportion of talented left-handers, even among those who played instruments that seem designed for right-handers, such as violins."

[aligreto]

Handel: Organ Concerto Op. 7 No. 4 [Rogg/Dunand]

[Madiel]

Sibelius, "Promotional Cantata" (Cantata for the University Graduation Ceremonies of 1894)



I hadn't realised until reading the notes for this recording that the cantata is actually incomplete, missing the vocal line from the 3rd and final movement. A pity. It's a pretty good work and another important step in Sibelius' mastery of the orchestra.

[Traverso]

Tschaikovsky & verdi