What are you listening to now?

[vandermolen]

Bax: November Woods
London PO/Boult

Bliss: Cello Concerto
Wallfisch (cello)/Ulster Orchestra/Handley

Bax: Symphony No. 5
RSNO/Lloyd-Jones

A great concert! Leppard's is my favourite version of No.5 which is my favourite symphony by Bax.

[Judith]

Although I don't listen to Bruckner much these days this recording has a special place in my affections - don't ask me to explain in any detail but to me this just sounds 'right'. The music flows as if it is coming from a celestial source directly through Furtwangler's baton.

Not so familiar with this one but will investigate.
What do you think of no 9?🎼🎼

[king ubu]

The recent Lalande disc by Dumestre is very, very good - in fact it almost succeeds in capturing the same magic that the group had on its early alpha releases. Played the Buxtehude late last night and again this morning. It's wonderful! Now giving the Caldara a first spin (I have the Jacobs but haven't yet played it - continuing the tragedy of the GMG forum thereby, and with hundreds of other recordings  )

[Todd]

Disc eleven.

[Traverso]

Gesualdo: Four Marian Motets [Tallis Scholars]





Ave, dulcissima Maris
Precibus et meritis
Ave, Regina coelorum
Maria, Mater gratiae

This is one of my favorite recordings with the Tallis Scholars,it is really brilliant.

[Traverso]

Beethoven

CD 1

PIanosonatas 1 - 2 - 3 & 5   1963 - 1968 - 1969 - 1963

[Que]

 

Q

[steve ridgway]

CD 5, Voice of the Whale, Night of the Four Moons, Makrocosmos Vol. II by George Crumb. Amplifying the piano and playing its strings adds to the richness of the sound as well as generally unusual playing of the other instruments such as the banjo which sounds more like something from the mystic East. If only I'd had a copy of Makrocosmos Vol. II when my music teaching, church organ playing grandfather was telling me to leave his piano alone if I wasn't going to play it properly .

[asin]B00TQNMCDU[/asin]

AKA

[Irons]

Gorgeous works, big, brawny, generous. The London Philharmonic was London's premier orchestra at the time and Alwyn conducts with feeling and energy. The sound is ample and natural (venue not specified).

If the Lyrita CD issues are anything like the vinyl then little information is given. Alwyn's 4th Symphony was recorded in 1975 and the 1st, 1977. Kenneth Wilkinson was the sound engineer for both at the Walthamstow Assembly Hall. "Wilkie" is a given for good sound.

[aligreto]

Fauré: Requiem [Willcocks]





This is a fine, true to the music version but, what I would categorize as a restrained performance; devotional but not quite as emotionally charged as other versions that I have in my collection.

[aligreto]

This is one of my favorite recordings with the Tallis Scholars,it is really brilliant.

Yes indeed, and I have it on both CD and vinyl in my collection.

[Iota]

Jumpin' on this Franco-Persian bandwagon (but still firmly in 20th century French territory):

Kathryn Stott plays Charles Koechlin's Les heures persanes, op. 65

Sort of contemporary with the Koechlin I was listening to earlier (but I find the music of these two composers—Debussy and Hahn—, different as they are from each other, much more appealing than Koechlin's ):

For what it's worth, I find the orchestral and piano versions of Les Heures Persanes very different experiences. The latter seems far more solitary, existential even (and it's not just instrumental numbers, it's timbre, note decay and a qualitative atmospheric difference), whereas the orchestral version feels a far more sensory/heady/intoxicating affair. Personally I have a preference the latter.

Segerstam's is the only version I know, but he really seems to have a way of coaxing extraordinary sounds out of strings (cf the storm scene at the end of Sibelius' Tapiola, the most intense I've heard!)

[André]

If the Lyrita CD issues are anything like the vinyl then little information is given. Alwyn's 4th Symphony was recorded in 1975 and the 1st, 1977. Kenneth Wilkinson was the sound engineer for both at the Walthamstow Assembly Hall. "Wilkie" is a given for good sound.

Thanks for the info ! I assume it also applies to the disc with the other symphonies, then.

[Ken B]

To me the deploration sounds like lapping waves of the sea, waves collide and new waves form.

I absolutely adore the timbre of the top voice. And I like their way of forming vowel sounds, it's not too rich and large, and it's pretty introspective.

It's slow. I find it hard to hear and follow the words.

Re world music R Us, that connection has been part of medieval music interpretation since the 1960s, maybe less so in music as late as this Ockeghem. The one thing we know about this period of music is that it didn't sound like Dietrich Fischer Dieskau. Everything else is up for grabs.

Thanks. I'll give that a listen tonight.

[kyjo]

A gentle, mellow, almost lullaby-like Requiem --- to the memory of my beloved mother who unexpectedly passed away two weeks ago.

My deepest condolences, Andrei.

[ritter]

For what it's worth, I find the orchestral and piano versions of Les Heures Persanes very different experiences. The latter seems far more solitary, existential even (and it's not just instrumental numbers, it's timbre, note decay and a qualitative atmospheric difference), whereas the orchestral version feels a far more sensory/heady/intoxicating affair. Personally I have a preference the latter.

Segerstam's is the only version I know, but he really seems to have a way of coaxing extraordinary sounds out of strings...

Thanks for the comments, Iota! Much appreciated.. I have the orchestral Les heures persanes in my collection (the Segerstam recording), and will give it a spin sometime soon...

[Todd]

Another listen, this time through cans.  Gourari's style on this disc works better this way.  Now I kind of want to get her Decca recordings, if only because they are hard to get.

[aligreto]

Berlioz: Te Deum [Davis]





A very fine, devotional reading which is very well performed by all.

[ritter]

Chamber music by Vincent d'Indy:

[Mandryka]

Le Roman de la Rose??

I listened to this as lately as yesterday. Yes it is worth listening to.

Continuing my exploration of Sabine Lutzenberger with this rather fine recording, which has led me to a tenor with a very affecting, unaffected voice whose name I haven't yet identified, evidently the Augsburg Early Music Ensemble is my kind of thing.