What are you listening 2 now?

[Operafreak]

Lortzing: Die Himmelfahrt Jesu Christi

Oratorio for Soloists, Chorus and Orchestra-WDR Rundfunks Chor & Orchester Köln, Helmuth Froschauer

[Dry Brett Kavanaugh]

That's a great set.

Earlier today I listened to this CD of Walton's 2nd Symphony in the car (it came with BBC Music Magazine). It is the best performance that I have heard:

I am envious!

[Peter Power Pop]

Khachaturian: Gayaneh Suite

The Mountaineers' Dance must be counted as one of the most exciting movements under two minutes. Absolutely exhilarating!

Mountaineer's Dance:

https://www.youtube.com/v/6FwlkCIKuI8

[Peter Power Pop]

Maurice Ravel
Menuet Antique
La Valse

Jean Martinon & Orchestre de Paris

A great set.

[Wanderer]

Lortzing: Die Himmelfahrt Jesu Christi

Oratorio for Soloists, Chorus and Orchestra-WDR Rundfunks Chor & Orchester Köln, Helmuth Froschauer

Very interesting!

[Irons]

Yes, not a special recording at all. This one (the Violin Sonata) remains unrivalled:

Agreed. I have Hugh Bean's recording on LP.

[Harry]

J.S. Bach.
Complete Cantatas.
Volume 26.
Leipzig 1724.
BWV. 180/122/96.

Again a new counter, Timothy Kenworthy Brown, I so hope he is Worthy.

[Harry]

Organ Works of the North German Baroque.
Volume VII.
Johann Praetorius.
Selected Organ Works.
Friedhelm Flamme, Organ.
Instrument:
Peter and Paul Church of the Cloister estate in Holthausen by Buren.
This organ, 1764, is built from bits and Bobs from other venues.
Pitch: A= 465 Hz, at 15 C.
Temperament: Werckmeister III.

This is an fantastic sounding organ, despite the fact that it is built out of other organs, and retains a lot of old pipes which is a great win. It still has an unique balance and poise. I thoroughly enjoyed the instrument. Flamme is at his best on this recording which I can recommend on all counts, even those who dislike Flamme's art. I am simply fascinated by Johann Praetorius music. His Contrapuntal mastery is quite evident. Excellent recording.

[vandermolen]

my first reaction when listening to the first symphony was a longing for the sumptuous richness of sound of the bryden thomson recording.  Finally I was able to give my attention to the music without distraction.

Thomson's cycle is very fine and very underrated.

NP

Hanson Symphony No.5 'Sinfonia Sacra'
This IMO is one of the great Hanson CDs, not least for the inclusion of 'Dies Natalis' (not mentioned on the front of the CD)

[Roasted Swan]

That's a great set.

Earlier today I listened to this CD of Walton's 2nd Symphony in the car (it came with BBC Music Magazine). It is the best performance that I have heard:

Interesting opinion re the 2nd Symphony.  I listened a couple of times to this version - the 2nd time in the light of your comment because I find we share similar tastes and opinions on performances.  I was quite disappointed with the symphony.  Simply because its a bit scrappy and made me realise all over again what a hard piece to play it is.  I have a lot of time for Otaka and I know from colleagues who were in the BBC NOW when he was principal conductor that he was very highly regarded.  But I had the distinct sense this was a performance just being held together with few musical insights to offer.  For me, far from being at the top of the list of performances it would be near the bottom well after Szell/Previn/Mackerras/Thomson/Litton/Brabbins/Ashkenazy/Karabits.....

[Harry]

Niels Gade's
Symphony No. 1

Neeme Järvi, Stockholm Sinfonietta

I have a soft spot for these performances, in that I hear that Jarvi is getting out the maximum of musicality, plus the fact that the recordings are quite decent.

[pjme]

Very interesting!

From Musicweb - as I know nothing about this work:
Born into a theatrical family, Lortzing composed a number of Singspiels, most famously 'Zar und Zimmerman' (1837) and 'Der Wildschutz' (1842) as well as a romantic opera ('Undine') and a revolutionary opera ('Regina'). His 'Hans Sachs' probably influenced Richard Wagner. But Lortzing did not only write operas. He states in his autobiography that the expectations of his audience constrained him to constantly present entertaining works and but he seems to have written a number of more serious works.

'Die Himmelfahrt Jesu Christi' was first performed in Munster at the City Theatre in 1828 shortly after Lortzing's one act comedy 'Ali Pascha von Jenina' was performed. This was two year's after Weber's 'Oberon', a year after Beethoven's death, the same year as Schubert's death, and a year before the first performance of Rossini's 'William Tell' in Paris.

'Die Himmelfahrt' was first performed in Münster and then a year later in Osnabruck as part of a concert which included an opera overture, several arias including one from Mozart's 'La Clemenza di Tito' and a 'Hymn to Harmony' by Ignaz von Seyfried. In many ways it should not be regarded as an oratorio, more as a religious opera. It is written for chorus, orchestra along with five soloists - Gabriel (soprano), Eloa (alto), Christ (tenor), St. John (baritone), St. Peter (bass). The piece opens with a chorus of Angels and then in an accompanied recitative (all the recitatives in the piece are accompanied) St. John, sung by Christian Hiltz, explains that the disciples have come to the Mount of Olives as instructed by Christ. Hiltz has a pleasing light baritone that almost makes you think he could be a tenor. Then in an aria 'Blow Loudly to Zion with trumepts' Gabriel informs the listeners that Christ is Lord. Gabriel is sung by soprano, Anneli Pfeffer and is most impressive in this aria with its hints of Mozart, Weber and Haydn's 'Creation'. Following this Eloa, sung by Hedwig Fassbender, recites the passage from St. John's gospel, 'In the beginning was the Word...'. Fassbender displays a rich contralto instrument in this dramatic, atmospheric recitative. The recitative is followed by a rather conventional quartet for Gabriel, Eloa, John and Peter in which Christ's earthly life and suffering are recalled. John, in a recitative, graphically depicts all the suffering that occurred. Lortzing's orchestration at this point very effective, pointing up the graphic words. Unfortunately, Hiltz's baritone sounds rather uncomfortable with the lower tessitura of the piece. Then he and Gabriel, in a touching duet with charming solos, lament the loss of a friend. In a recitative and bravura aria 'The women did not see him in the tomb', Peter describes Christ's resurrection. Peter is sung by bass Kay Stieffmann and he also sounds a little taxed by the lower notes, but he has a very effective, dramatic bass voice with a fine feeling for the words. Part 1 concludes with another chorus of Angels.

Part 2 opens with a recitative and aria 'O great salvation has been given to you' from the risen Christ himself who is sung by tenor Bernhard Schneider. Schneider has a light, bright clean toned voice. The aria is essentially lyrical, but ideally Christ should have a bit more weight than Schneider can provide, but the high tessitura of the piece holds no fears for Schneider. In a dramatic and very operatic chorus, the disciples implore him 'Let us not be forsaken'. Christ then prays to God the Father, 'I have revealed your name' and again Schneider lacks that essential element of heft that the Weberian dramatics of the aria require. In a trio, Christ, Gabriel and Eloa then praise faith as the greatest good. Then the chorus of disciples sees Lord of truth surrounded by the heavenly host. Christ then vanishes into Heaven amidst a highly operatic ensemble. The work concludes with a short recitative from Peter and an operatically dramatic Chorus of Angels.

This is a fine, committed performance of the work and should do much to raise interest in Lortzing's non-operatic output. The young cast give fine performances even

though I felt that the three men had voices a half-size smaller than was desirable. They are well supported by the clean, bright choral tones of the WDR Rundfunkchor and the WDR Rundfunkorchester. Helmuth Froschauer's speeds are generally apt and he encourages a performance that is far from routine.

Robert Hugill

Read more: http://www.musicweb-international.com/classrev/2003/aug03/Lortzing.htm#ixzz7iFkxDpyz

Hmmm- sounds interesting. Lortzing wrote more than the clog dance from Zar und Zimmermann....

[vandermolen]

Interesting opinion re the 2nd Symphony.  I listened a couple of times to this version - the 2nd time in the light of your comment because I find we share similar tastes and opinions on performances.  I was quite disappointed with the symphony.  Simply because its a bit scrappy and made me realise all over again what a hard piece to play it is.  I have a lot of time for Otaka and I know from colleagues who were in the BBC NOW when he was principal conductor that he was very highly regarded.  But I had the distinct sense this was a performance just being held together with few musical insights to offer.  For me, far from being at the top of the list of performances it would be near the bottom well after Szell/Previn/Mackerras/Thomson/Litton/Brabbins/Ashkenazy/Karabits.....

Hello RS,
I was especially moved by the slow movement which I think is superior (and more moving) than the one in the 1st Symphony. The 1st Symphony is the much greater work, but I have learned to appreciate the 2nd Symphony more recently. You have more musical insight that I do, and I respect your opinion. I like the recordings of the 2nd Symphony by Szell and Mackerras in particular. Maybe I was more receptive to the work on my car journey!

[Harry]

Jean Sibelius.
CD 5-End.
Violin Concerto in D minor.
Two Serenades, opus 69.
Romance for Strings in C major.
Valse Triste, No. 1.
Luonnotar.
Boris Belkin, violin.
Philharmonia Orchestra & Boston SO, Vladimir Ashkenazy.


I am quite pleased with the performances in this box, but I had to make an halt for the two serious melodies sung by Soderstrom, on the last disc in this set, which can easily give me nightmares.
The rest is top-notch, no complaints only praise. Excellent Decca sound.

[vers la flamme]

Ludwig van Beethoven: Lieder (Zärtliche Liebe, WoO 123; Adelaide, op.46; Resignation, WoO 149; Der Kuss, op.128); An die ferne Geliebte. Fritz Wunderlich, Hubert Giesen; Matthias Goerne, Alfred Brendel

Amazing, amazing stuff. I always wonder why I don't listen to Lieder more in general, and Beethoven's Lieder in specific.

Listening to Adelaide again this morning. What an amazing song. Can't believe Beethoven wrote this in 1795 at age 24, it sounds very Romantic, like a Schubert Lied—and Schubert wasn't even born yet.

[vandermolen]

Jean Sibelius.
CD 5-End.
Violin Concerto in D minor.
Two Serenades, opus 69.
Romance for Strings in C major.
Valse Triste, No. 1.
Luonnotar.
Boris Belkin, violin.
Philharmonia Orchestra & Boston SO, Vladimir Ashkenazy.


I am quite pleased with the performances in this box, but I had to make an halt for the two serious melodies sung by Soderstrom, on the last disc in this set, which can easily give me nightmares.
The rest is top-notch, no complaints only praise. Excellent Decca sound.

Good Tapiola as well Harry.

[Harry]

Good Tapiola as well Harry.

Yes Jeffrey that one especially, but also that the 5th Symphony blew me away too, such passion and insight into the characteristics of Sibelius composition. The 7 th coupled with the fifth gave me goosebumps too, again this concentration of details and highlighting the many punchlines in the score. And then the beautiful En Saga, well utterly marvelous.
And now listening to the Violin concerto, a magnificent performance by Boris Belkin, and the orchestra perfectly in balance.
Its all good, forgive me my rambling on about these performances.

[pjme]

Jean Sibelius.
Luonnotar.
Philharmonia Orchestra & Boston SO, Vladimir Ashkenazy.

Soderstrom.... nightmares......in Excellent Decca sound.

Ah...thanks for reminding me of Luonnotar. Possibly my favorite Sibelius work.  (the violinconcerto definitely isn't  )
Soderstrom was 54 when she recorded Luonottar. So one can say that her voice lost some youthfull bloom - but still: verrrry impressive!

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

[Harry]

Ah...thanks for reminding me of Luonnotar. Possibly my favorite Sibelius work.  (the violinconcerto definitely isn't  )
Soderstrom was 54 when she recorded Luonottar. So one can say that her voice lost some youthfull bloom - but still: verrrry impressive!

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

I must admit and say in my defense, that in her younger days I liked her voice

[Harry]

And to be honest too, I have the top model of Esoteric CD player. on loan for a month
Grandioso P1X