What are you listening 2 now?

[SonicMan46]

Robert de Visée (c. 1655 - c. 1733) - Chamber & Guitar Music - de Visée was a lutenist, guitarist, theorbist and viol player at the court of the French kings Louis XIV and Louis XV, as well as a singer and composer for lute, theorbo and guitar. Short Wiki bio HERE w/ a list of his works, which are somewhat confusing on the 4-CD Brilliant set (explained better in the attached reviews) - I own this box + several theorbo CDs, one w/ Hopkinson Smith.  The guitar recordings are from Spotify listened to yesterday.  Dave

 

[Todd]

[Mirror Image]

Well you can keep your 2nd Viennese School for all I'm concerned I bet just a couple months ago you would've loved Fernström's music. Now only the "great revolutionary masters" of the 20th century matter to you.

I have two discs of Fernström (both on BIS). The composer's music just isn't interesting to me regardless of who I'm currently into. It's okay to have a different opinion, right or am I supposed to just nod my head along with your's and agree with everything you write? To further explain my viewpoint, I love Barber's music and he's hardly the revolutionary composer. I love Dutilleux's music and he's hardly the revolutionary composer. And this list could on for days, Kyle --- so this 'talking point' of yours is nothing more than an adolescent who is pouting because he didn't get his way.

[vandermolen]

Malcolm Williamson: Violin Concerto
IMO one of the great 20th Century violin concertos and like much of Williamson's music totally neglected. It is a powerful, catchy, memorable and moving work. The LP cover, featuring David Wynne's fine sculpture of Yehudi Menuhin was IMO much better than the rather drab CD cover. I first came across the LP of this fine work in the small record library of the Commonwealth Institute in London. I discovered Lilburn's 2nd Symphony there as well:
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[vandermolen]

Joubert: Symphony No.1

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Carter
Soundings
Pierre-Laurent Aimard (piano)
BBC Symphony Orchestra
Oliver Knussen



Damn, this is such a cool piece.

[Symphonic Addict]

Malcolm Williamson: Violin Concerto
IMO one of the great 20th Century violin concertos and like much of Williamson's music totally neglected. It is a powerful, catchy, memorable and moving work. The LP cover, featuring David Wynne's fine sculpture of Yehudi Menuhin was IMO much better than the rather drab CD cover. I first came across the LP of this fine work in the small record library of the Commonwealth Institute in London. I discovered Lilburn's 2nd Symphony there as well:
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The Piano Concertos from the Hyperion twofer were really special. Williamson has a voice of his own, especially because of the catchy and complex rhythms and the recurrent mastery, deepness, pensiveness through his works.

[Symphonic Addict]

Breaking News:

I support Zemlinsky, Fernström and Second Viennese School. No winners, no losers.

[Mirror Image]

Breaking News:

I support Zemlinsky, Fernström and Second Viennese School. No winners, no losers.

Hear, hear!

[Symphonic Addict]

Yet another case where an orchestration or transcription for string orchestra succeeds, no matter the composer approved them or not. It doesn't surpass the original creation, but it's a very welcome approach:

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Carter
Cello Sonata
Joel Krosnick (cello), Paul Jacobs (piano)

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Stravinsky
Le Baiser de la fée (The Fairy's Kiss)
Stravinsky et. al.



From this set:

[Symphonic Addict]

Hindemith's instrument. Since it was his most favorite preference, these works portray his art and distinctive serious non-openly-sentimental compositions in stunning tours de force for the viola, let's not forget the severe expression and the craftsman's counterpoint. Riveting.

[Mirror Image]

Hindemith's instrument. Since it was his most favorite preference, these works portray his art and distinctive serious non-openly-sentimental compositions in stunning tours de force for the viola, let's not forget the severe expression and the craftsman's counterpoint. Riveting.

Yep, a fantastic set right there, Cesar. Gloriously and faithfully performed, too.

[Todd]

[Que]

Q

[Symphonic Addict]

Yep, a fantastic set right there, Cesar. Gloriously and faithfully performed, too.

Indeed! Top-notch.

[André]

That 3rd symphony from 1914 is mighty impressive, maybe the best I've heard from that composer. The first movement is a huge edifice building up to intense statements of pain and anguish. In the second (last) movement strong thematic influences by Franck and Wagner are welded in a gripping narrative. There is nothing derivative in the way he uses what was already by then part of the musical tools of 20th century musical language. Myaskovsky is very much his own man.

Symphony no 13 from 1933 is in one movement and is described as akin to a symphonic poem or maybe a symphonic work in the style of Skryabin. It is a somber, melancholy work. I do not hear the strife and conflict of the 3rd, rather a sort of rampant anguish tinged with resignation.

The Alto box respects the Olympia series' original layout. It brings together early and middle/late works. There is a practical reason behind this programming schedule: the early works are bigger, longer than the middle or late ones, so typically a 45 minute early symphony will be coupled with a 25-30 minute late one. Obviously there could have been many different permutations

[vandermolen]

The Piano Concertos from the Hyperion twofer were really special. Williamson has a voice of his own, especially because of the catchy and complex rhythms and the recurrent mastery, deepness, pensiveness through his works.

Thanks Cesar. That's No.1 on my Wish List.

[vandermolen]

That 3rd symphony from 1914 is mighty impressive, maybe the best I've heard from that composer. The first movement is a huge edifice building up to intense statements of pain and anguish. In the second (last) movement strong thematic influences by Franck and Wagner are welded in a gripping narrative. There is nothing derivative in the way he uses what was already by then part of the musical tools of 20th century musical language. Myaskovsky is very much his own man.

Symphony no 13 from 1933 is in one movement and is described as akin to a symphonic poem or maybe a symphonic work in the style of Skryabin. It is a somber, melancholy work. I do not hear the strife and conflict of the 3rd, rather a sort of rampant anguish tinged with resignation.

The Alto box respects the Olympia series' original layout. It brings together early and middle/late works. There is a practical reason behind this programming schedule: the early works are bigger, longer than the middle or late ones, so typically a 45 minute early symphony will be coupled with a 25-30 minute late one. Obviously there could have been many different permutations

No.3 was my earliest favourite NYM symphony and I still love it. No. 13 was a recent discovery, through the Naxos recording.