Pieces that have blown you away recently

[relm1]

I think this is a very fine set indeed - albeit one with a stupidly ill-considered cover!  The music and the performances are top drawer.  Generally these DSCH song cycles in either piano or orchestral garb are still less-known than they deserve I think.

Right?!!?  The Jewish Folk Poetry literally has music about a mom burying her baby!! The cover boldly says "Russian Romances" and shows gorgeously seductive women from central casting who have absolutely nothing to do with the texts...lol.  A fat, drunk guy on the cover would have been more appropriate but I'm not a marketing genius so what do I know?  Regardless, a very fine set.

[kyjo]

These three string quartets by the Belgian composer Désiré Pâque (1867-1939). Supremely exquisite, refined, intimate, tender and agitated when needed. The music is clearly late-Romantic, but I couldn't associate it to any composer right now, it's just marvelous. Music to delight the ears.

There's so many gems hidden in the oeuvres of those overlooked Belgian and Dutch composers! This sounds right up my alley!

[Luke]

Right now, this:



Wow, this is marvellous. I knew the music way back, I studied it at university, and every now and then, convinced I should love it, I've played through it, quite badly. And yes, I loved it in principle - honestly, Grieg's imaginative but wholly respectful piano settings of Halvorsen's transcriptions of the Hardanger fiddle player Knut Dahle, what's not to love! - but to be honest every time I heard it I found it too ungiving and brittle to really fall for. As if the performers were trying to bring out the alien weirdness of this folk music from the northern edge of Europe, with all its lydian modalities, its florid ornamentation, its raw but rich sonorities, its slightly unhinged rhythms. Unimaginatively I imagined this should how it is to be played anyway, so that's how I played it too

Well, those weirdnesses don't need bringing out. They are all in the music already. Played with loving sensitivity, with lingering rubato, with a tone that tends towards limpid and soft and never becomes hammered, I could listen forever.

On this CD they receive the perfect couplings - Halvorsen's original transcriptions, complete, followed by a 1912 recording of one of them played by Dahle himself. They are played by two sisters (first the pianist, then the violinist) with the music in their blood, and to cap it all (though hardly the first time its been used in a recording) the piano is Grieg's own, on which they were composed. Sublime, really.

[Pohjolas Daughter]

Right now, this:



Wow, this is marvellous. I knew the music way back, I studied it at university, and every now and then, convinced I should love it, I've played through it, quite badly. And yes, I loved it in principle - honestly, Grieg's imaginative but wholly respectful piano settings of Halvorsen's transcriptions of the Hardanger fiddle player Knut Dahle, what's not to love! - but to be honest every time I heard it I found it too ungiving and brittle to really fall for. As if the performers were trying to bring out the alien weirdness of this folk music from the northern edge of Europe, with all its lydian modalities, its florid ornamentation, its raw but rich sonorities, its slightly unhinged rhythms. Unimaginatively I imagined this should how it is to be played anyway, so that's how I played it too

Well, those weirdnesses don't need bringing out. They are all in the music already. Played with loving sensitivity, with lingering rubato, with a tone that tends towards limpid and soft and never becomes hammered, I could listen forever.

On this CD they receive the perfect couplings - Halvorsen's original transcriptions, complete, followed by a 1912 recording of one of them played by Dahle himself. They are played by two sisters (first the pianist, then the violinist) with the music in their blood, and to cap it all (though hardly the first time its been used in a recording) the piano is Grieg's own, on which they were composed. Sublime, really.

Interesting!  I hadn't heard of a hardanger fiddle before now.

PD

[Pohjolas Daughter]

I found a nice video explaining the differences between a hardanger fiddle and a normal violin.  She then goes on to play a tune.  Note:  she does warn that she is still getting used to the tunings and playing it.

PD

Edit:  I did find a piece from your album on youtube...enjoying it! 

PD

[vandermolen]

Paul Creston: Symphony No.3 'Three Mysteries' - especially the central movement 'The Crucifixion'. This now, I think, ranks alongside the other great American 3rd symphonies by Harris, Copland, W. Schuman, David Diamond, Ives and Howard Hanson.

[Irons]

Paul Creston: Symphony No.3 'Three Mysteries' - especially the central movement 'The Crucifixion'. This now, I think, ranks alongside the other great American 3rd symphonies by Harris, Copland, W. Schuman, David Diamond, Ives and Howard Hanson.

Listened on YT, the 1st movement enough for me. A copy on order. Thanks, Jeffrey.

[Pohjolas Daughter]

Paul Creston: Symphony No.3 'Three Mysteries' - especially the central movement 'The Crucifixion'. This now, I think, ranks alongside the other great American 3rd symphonies by Harris, Copland, W. Schuman, David Diamond, Ives and Howard Hanson.

Listened on YT, the 1st movement enough for me. A copy on order. Thanks, Jeffrey.

I'll have to dig around...don't believe that I have any of Creston's works.

[Opus131]

Maybe wrong thread to post this, but i recently stumbled on this Egyptian composer while randomly perusing my youtube feed:

What struck me is how instantly memorable the melodies were. From what i understand those songs are culled from a number of popular operas he wrote for the stage in the early 20th century. The music may not be particulatly sophisticated there but the melodies themmselves are remarkably well crafted, almost Mozart-like in how well they unfold.

I checked if he had written music which we might deem more "serious" and it seems that he did, but it is mostly traditional oud compositions which, fair enough, this is the classical music of his culture and apparently he was a master of the instrument as well:

Cannot really comment on how good he was as an oud performer compared with the myriad of other masters of this instrument the middle east produced since i'm not an expert on the subject, but he seemed to have a gift for writing memorable melodies at the very least.

[Dry Brett Kavanaugh]

Paul Creston: Symphony No.3 'Three Mysteries' - especially the central movement 'The Crucifixion'. This now, I think, ranks alongside the other great American 3rd symphonies by Harris, Copland, W. Schuman, David Diamond, Ives and Howard Hanson.

Love the symphony!

[vandermolen]

I'll have to dig around...don't believe that I have any of Creston's works.

You can get symphonies 1,2 and 3 together on Naxos PD.

[Pohjolas Daughter]

You can get symphonies 1,2 and 3 together on Naxos PD.

How well do you like the performances?

PD

[vandermolen]

How well do you like the performances?

PD

Perfectly good and serviceable even if I prefer Jarvi in No,2 and Schwarz in No.3.

[Dry Brett Kavanaugh]

Perfectly good and serviceable even if I prefer Jarvi in No,2 and Schwarz in No.3.

Yes I like the Naxos/Theodore Kuchar!

[Symphonic Addict]

The two string quartets by Francisco Mignone. How cool and inventive they are, loaded with Brazilian melodies and rhythms.

 

[Florestan]

Both ballets are hit parades, featuring gorgeous melodic inspiration in colorful orchestral garb. Highly recommended.

[relm1]

Maybe wrong thread to post this, but i recently stumbled on this Egyptian composer while randomly perusing my youtube feed:

What struck me is how instantly memorable the melodies were. From what i understand those songs are culled from a number of popular operas he wrote for the stage in the early 20th century. The music may not be particulatly sophisticated there but the melodies themmselves are remarkably well crafted, almost Mozart-like in how well they unfold.

I checked if he had written music which we might deem more "serious" and it seems that he did, but it is mostly traditional oud compositions which, fair enough, this is the classical music of his culture and apparently he was a master of the instrument as well:

Cannot really comment on how good he was as an oud performer compared with the myriad of other masters of this instrument the middle east produced since i'm not an expert on the subject, but he seemed to have a gift for writing memorable melodies at the very least.

That is very interesting.  I heard some music by a mid 20th century Egyptian composer that I thought was very impressive and completely unknown.  It reminded me of Respighi's Roman trilogy.  Unfortunately, I forgot who the composer was but can look for it if interested.  You'll have to keep in mind, recordings are of 1950's era as there seems to be zero market for this which is sad.  There seems to be a very rich and interesting musical legacy worthy of revitalization.

[Maestro267]

I listened to Schumann's cycle Dichterliebe for the first time today, the first time I've heard any of his Lieder. I seem to be in that sort of mood atm and it's really clicking with me now. Dietrich Fischer-Dieskau and Christoph Eschenbach's recording. The overall flow of the cycle is fantastic. One of the things that stuck with me is how the singer goes silent for the last 2 minutes of the last song and leaves the end to the pianist.

[Luke]

Wow, envious of your first Schumann lieder experience! One of the most wonderful groups of works to explore. The Dichterliebe are equalled by the Eichendorff Liederkreis, op 39,  my own favourite. The absolute epitome of  German forest romanticism, every note spellbinding.

I love the pairing of the two cycles as sung by Ian Partridge. His voice is so fresh and young on those recordings, the voice of the poet, really. 

[Maestro267]

Fortunately that cycle is also on the recording I have. Not sure if I'll get to it today but definitely will soon.