What are you listening 2 now?

[Karl Henning]

CD 8:

Tchaikovsky
Symphony no. 6 in b minor (Pathétique)
Romeo and Juliet, Overture-Fantasy
LSO
Doráti

The fact is, I would not have bought this box for another recording of these pieces; but, just as with the Dvořák symphonies by the same forces, these are superb.  What a cathartic listen such a warm Pathétique was today.

[steve ridgway]

Indeed! It's like Xenakis' Le sacre du printemps. I'm glad I bought that box set as it's pretty impossible to find now and if one does find it, it's incredibly expensive.

Ah! Being OOP would explain why I found discs 2-4 on archive.org.

[Mirror Image]

Ah! Being OOP would explain why I found discs 2-4 on archive.org.

You don't own the set, eh?

[André]

This cd of Distler's choral music contains one of his better known works, Totentanz. Here's the historical/literary context of the work, straight out of the wiki article on the work:

Totentanz (Danse Macabre), Op. 12/2,[1] is a composition of 14 motets by Hugo Distler which he composed in 1934 for Totensonntag. The work was inspired by the medieval Lübecker Totentanz. The music is interspersed with twelve spoken texts. The motets are scored for a four-part choir a cappella, while the texts can be recited by one or more speakers. The text for the sung parts is taken from the Baroque poem Der Cherubinische Wandersmann by Angelus Silesius. The spoken stanzas were written by Johannes Klöcking, a contemporary of Distler

Distler's position in the german liturgical/musical life ensured his work had a certain exposure and influence. Indeed, his church music is still regularly played and recorded in Germany. On this recording from the Thomaskirche in Leipzig, the parts of the play are taken by professional singers but also by the Mayor of Leipzig and the Pastor of the Thomaskirche, where J.S. Bach was Cantor (and is buried in the nave). These are mundane but important details, as they shed light on the importance of what is a very ancient tradition in the germanic world and the cultural and religious filiation Distler was a part of.

The disc is completed by some of the many motets written by Distler. This is music of intense spiritual devotion. Lest that be construed as a synonym for terminal boredom, I can attest it is not the case. Distler writes in a very clear, lucid, transparent idiom allied to rythmic lightness. Another quote from the wiki article helps place his style and influence in its proper context:

He is now recognized as "one of the most significant German composers of his generation".[1] He is often associated with other German neo-Baroque choral composers, including Johann Nepomuk David, Ernst Pepping and Wolfgang Fortner.[5] One of Distler's most prominent students, who carried on many of his rhythmic and harmonic innovations, was Jan Bender. Distler's style was spread by choirs in Germany and abroad during the years after World War II, stimulating and influencing other later composers.

A conscientious objector and nazi critic, Distler resisted the draft and committed suicide in 1942. His reputation has always been high in Germany. A professional choir bears his name and a postage stamp was issued for the 50th anniversary of his death in 1992:

[steve ridgway]

You don't own the set, eh?

No, but I found loads of Xenakis on there. Possibly the record companies don't think there's much chance of selling it.

[vandermolen]

New release. Not unrealistically IMO compared with Prokofiev's 'Alexander Nevsky' ( I actually prefer the Poledouris score). I think that Prokofiev's 'Ivan the Terrible' is a much better score than Alexander Nevsky:

[Todd]

Swift, light, often elegant, but also often detached playing.  About what was expected.  Unexpected is what sounds like overload in the left channel on a few tracks.  It is very low in level, but it is undeniably there.

[Symphonic Addict]

Symphony No. 6

Clearly one of the best by this composer. Is not the first movement a wonder unto itself? It feels organic and natural.

[Symphonic Addict]

Nice! Distler is a composer whose life was an illustration of total dedication to music. I have a couple of discs of his choral music. It is not easy stuff, not because of dissonance, chromaticism and the like, but because it is so deeply spiritual, it makes one feel almost like eavesdropping on a private exchange.

Good to know you're also enjoying this CD.

[Symphonic Addict]

The last movement of Distlers concerto is a dizzying tour de force:

https://www.youtube.com/v/WSj8EfV0Tw0

Alas, this recording omitted the 3rd movement.

[Symphonic Addict]

Who's the cellist in this recording? My go-to Don Quixote is the Rostropovich/HvK on EMI.

John, the cellist is Thomas Grossenbacher and the violist is Michelle Rouilly. Not that known but both did a splendid job here along with the orchestra and conductor.

[Mirror Image]

John, the cellist is Thomas Grossenbacher and the violist is Michelle Rouilly. Not that known but both did a splendid job here along with the orchestra and conductor.

Very nice, indeed.

[Mirror Image]

This opera:

[Karl Henning]

CD 6:

Gershwin
An American in Paris

Copland
Four Dance Episodes from Rodeo

Schuller
Seven Studies on Themes of Paul Klee


Bloch
Sinfonia breve

Minneapolis Symphony* (Renamed the Minnesota Orchestra)
Doráti

Just as with the Bartók Op. 5, although I have had these recordings forever, this is the first I have listened attentively to the Bloch

[Mahlerian]

Some of the greatest Mahler conductors were selective with the works they performed. Karajan recorded as many different Mahler symphonies as did Klemperer.

I still want you to listen to Karajan's recording of the 9th sometime. I would be really curious to see if your comments about the music being drained of emotion, drama & color would apply to that performance. (I'm familiar with the live recording but the studio is also worthwhile from what I've heard).

I will (though probably not until after next week), and I'm open to changing my mind.

Stravinsky: Petrushka, The Rite of Spring
London Philharmonic Orchestra, cond. Haitink

[Christo]

Symphony No. 6

Clearly one of the best by this composer. Is not the first movement a wonder unto itself? It feels organic and natural.

It was the very first thing I heard from him, I recall being totally taken, wow! 

[André]

Good to know you're also enjoying this CD.

I don't have this particular one, but would like to. It's hard to find at a reasonable price. What I have is discs of choral music. I'm also eyeing discs of his organ music.

[vers la flamme]

New arrival, after an absurd 21-day postal tour (US Postal Service "media mail" has gone completely off the rails).

It has. I've been waiting on my Bernstein/DG Mahler cycle for about two weeks now, media mail.

[vers la flamme]

I will (though probably not until after next week), and I'm open to changing my mind.

Stravinsky: Petrushka, The Rite of Spring
London Philharmonic Orchestra, cond. Haitink

I will look forward to hearing your response, even if you hate it. 

TD;



Johannes Brahms: Symphony No.2 in D major, op.73. Marin Alsop, London Philharmonic

This is a great performance. I want to hear more of the London Philharmonic. They sound great here.

[Brian]

Johannes Brahms: Symphony No.2 in D major, op.73. Marin Alsop, London Philharmonic

This is a great performance. I want to hear more of the London Philharmonic. They sound great here.

I lived in London for a year and the LPO was my favorite of the local orchestras. Their house label recordings with Vladimir Jurowski are almost all excellent, including the best ever Tchaikovsky Symphony No 1. I was personally at the following concerts released on the LPO label as live recordings: Dvorak Stabat Mater, Brahms Symphony 4, Tchaikovsky Symphony 5.