What are you listening 2 now?

[Madiel]

Very cool, Madiel. What piece? I own this recording, which seems to be the only one solely dedicated to his solo piano music (which isn't much):

I'm fairly sure it was the last of the Preludes.

[vers la flamme]

Franz Schubert: Lieder. Renée Fleming, Christoph Eschenbach

[Mirror Image]

I'm fairly sure it was the last of the Preludes.

[Mirror Image]

First-Listen Tuesday

Honegger
L'Idée
Contrechamps Ensemble
Giorgio Bernasconi



A fascinating work for film that makes quite wonderful use of the ondes martenot (aka Spotted Horses' favorite instrument...lol ). This comes from an OOP recording released on Gallo in which I'm not sure if this label is defunct now or not. Anyway, it's a rare disc! Glad to own it.

[Symphonic Addict]

This criticism could be leveled at many composers, Cesar. I think one of the problems here is your general approach to music doesn't allow you the kind of time that's necessary in order to become familiar with a composer's sound-world, especially someone like Martin who isn't a composer that is going to hit you over the head with earth-shattering crescendos and constant excitement (of course, he could do both extremely well when he felt it necessary). It's a different kind of listening altogether. His art is one of subtlety and color. This is probably why you don't find yourself drawn into Debussy's sound-world too often or, to another extreme, Schoenberg, Berg or Webern.

Anyway, just an observation, my friend. Nothing more.

No problem, John. And that [bolded text] is a fair statement. In music, I want more motion or purpose that I can grasp without the need to force myself to keep trying or liking anything. I analyze music and I detect why some works don't enthrall me enough, and that happens more with certain composers than with others. Martin can be incredibly poetic, subtle, deep in his utterances, but he can also be somewhat ruminative to my ears.

Just my two cents!

[Symphonic Addict]

Rubbra: Missa Cantuariensis

Sublime.

[Mirror Image]

No problem, John. And that [bolded text] is a fair statement. In music, I want more motion or purpose that I can grasp without the need to force myself to keep trying or liking anything. I analyze music and I detect why some works don't enthrall me enough, and that happens more with certain composers than with others. Martin can be incredibly poetic, subtle, deep in his utterances, but he can also be somewhat ruminative to my ears.

Just my two cents!

Ruminative as an adjective means deep thought, so, yes, Martin's music certainly requires this from the listener. I suppose why I love some of these types of composers (and certainly one of the reasons Debussy is my numero uno) is the harmony within his music is what truly excites me as a listener. Of course, I'm not saying that melody and rhythm aren't important, because they certainly are, but some composers excel where others do not. Some composers choose to downplay the dramatic aspect of their music, too and sometimes restraint can even more emotional than just coming right out with something and hitting you over the head.

Anyway...¡ama lo que amas, mi amigo!

[Mirror Image]

NP:

Honegger
Violin Sonata No. 2, H. 24
Ulf Wallin, Patricia Pagny

[Mirror Image]

Last work for the night:

Boulanger
Pie jesu
Bernadette Greevy, contralto
BBC Symphony Orchestra
Nadia Boulanger

[Que]

Early morning listening:

[Harry]

Early morning listening.

Jean Henry d'Anglebert.

Suites for Harpsichord.
CD I.
Suite No. 1 in G major & II in G minor.

Elizabeth Farr plays on a Keith Hill Harpsichord after  an original double manual instrument by Francois Blanchet.
A Lute Harpsichord, also made by Keith Hill, in 2000 made after a description found in Adlung's "Musica Mechanica Orgamoedi"  (1768) of a Lautenwerck made for J.S. Bach based on his special requirements.
Tuning is A=415 Hz.

I am quite charmed by Farr's performances, she does very well. Fine instruments, good sound, and a well rehearsed insight into this music. Very successful!

[Harry]

Early morning listening:

That's also a fine disc Que. Good morning to you!

[vandermolen]

Symphony No.1

[ritter]

...His only opera, Der Sturm is also magnificent. To my knowledge, it's only been recorded once (released on Hyperion, but I believe this recording is OOP now):



...

Indeed, Der Sturm is an interesting work, which I should revisit soon. But (sorry if I sound pedantic ), it's not his only opera; there's also the later comedy on Molière, Monsieur de Pourceaugnac, of which a bootleg recording was released years ago on the Dante Lys lable, conducted by the composer:



I remember liking it when I bought it decades ago, but remember very little of it now. Time to revisit this work soon as well...

Good day, John!

[Harry]

Symphony No.1

I remember buying those Erato recordings aeons ago. I did frighten my girlfriend with as she called it the "infernal noise", scaring people away. She said to me quite literally, "Get rid of it, or I remove myself". Well I kept the music, and luckily she stayed with me already 40 years, and she actually likes this composer. A miracle as there ever was one, right?

[Harry]

Thomas Arne.

Four Symphonies.

Cantilena, Adrian Shepherd.

This disc surprised me, as I already culled quite a few recordings of Cantilena, but the works sound fresh and are performed in a vigorous and sprightly manner. Quite like it. The recordings date from 1985, and as usual for those times has only 41 minutes of music, which today is ridiculous. Sound is very good. Love the horns, exuberantly display their timbres.

J.Worbs in FonoForum 4/86: "With their fun- esprit and a carefully polished orchestral writing, the four symphonies are the best compositions of the London contemporary of Johann Christian Bach equal."

[Traverso]

Early morning listening:

A fine recording 

[Harry]

Jacques Aubert.

"Le Carillon"
Concerts de Simphonies & Concertos.
Collegium Musicum 90, Simon Standage.

Aubert is a much underrated composer, and frankly under recorded.  He does not get much showtime, but in my opinion he deserves widespread recognition. Standage tells us why, in this beautifully conceived recording made in 1994.

[Madiel]

Dvorak, Piano Concerto



I think I've heard the work at most once before. This is apparently one of the best regarded recordings of it.

[Harry]

Tomaso Albinoni.
6 Sonate da Chiesa, opus 4 & 12 Trattenimenti armonici per camera, opus 6.
CD II of this set.
The Locatelli Trio.