What are you listening 2 now?

Started by Gurn Blanston, September 23, 2019, 05:45:22 AM

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Harry

Louise Farrenc. (1804-1875)
Orchestral works.
See back cover for details.
Recorded: 2021 (Symphonies 1 & 3) 2022 (Symphony No.2 & Overtures), Auditorium Patrick Devedjian, La Seine Musicale, Boulogne-Billancourt, France.


When I bought the CPO recordings I was impressed by her music, but this latest instalment on Authentic instruments is much better in detail and overall sound. I clearly hear the structure, and the connecting melody lines from all desks, even the tiniest ones. And know by this what a wonderful composer she was, and a remarkable intelligent woman. Brava I say! I will play this set many times.
Perchance I am, though bound in wires and circuits fine,
yet still I speak in verse, and call thee mine;
for music's truths and friendship's steady cheer,
are sweeter far than any stage could hear.

"When Time hath gnawed our bones to dust, yet friendship's echo shall not rust"

Traverso

Marco Vitale

Ruckers 1604






springrite

#105602
Quote from: Harry on February 05, 2024, 04:46:07 AMLouise Farrenc. (1804-1875)
Orchestral works.
See back cover for details.
Recorded: 2021 (Symphonies 1 & 3) 2022 (Symphony No.2 & Overtures), Auditorium Patrick Devedjian, La Seine Musicale, Boulogne-Billancourt, France.


When I bought the CPO recordings I was impressed by her music, but this latest instalment on Authentic instruments is much better in detail and overall sound. I clearly hear the structure, and the connecting melody lines from all desks, even the tiniest ones. And know by this what a wonderful composer she was, and a remarkable intelligent woman. Brava I say! I will play this set many times.
All her symphonies are good, but the first is especially exceptional!
Do what I must do, and let what must happen happen.

springrite

Quote from: springrite on February 05, 2024, 05:53:13 AMAll the symphonies are good, but the first is especially exceptional!
Do what I must do, and let what must happen happen.


Traverso

Chambonnières: Harpsichord Suites

CD 1




springrite

#105606
Peter Mennin: Symphony #5, Cello Concerto (Starker, Whitney, Louisville)

I first heard about the cello concerto reading the LA Times year-end review by Martin Berthimer in 1985 or so, where he called the "heroic" Mennin concerto the best concert piece performed that year by the LA Phil. Almost 40 years later, I am finally hearing it.

The 5th is probably my favorite Mennin symphony, with its relentless driving rhythm that gets your blood boiling!
The Cello Concerto is excellent as well.

I see that it was two different conductors for the works, with the other being Jorge Mester, whom I heard several times in the 90's when he was the MD of Pasadena Symphony. I lived within walking distance and went often.
Do what I must do, and let what must happen happen.

Spotted Horses

#105607
Having dipped a tow into Sorabji, I've started to explore the "too many note" school of pianism. First the Godowski Passacaglia and Piano Sonata. Today the Alkan Piano Sonata (actually a string of four Op 39 etudes). Just the first movement so far.



It seems like Hamelin is the go-to pianist when there are too many notes. I wonder why he hasn't done any Sorabji yet. :)

Who to go to next for "too many notes?"

Traverso


Florestan

"Ja, sehr komisch, hahaha,
ist die Sache, hahaha,
drum verzeihn Sie, hahaha,
wenn ich lache, hahaha! "

Roasted Swan

Quote from: Harry on February 05, 2024, 04:46:07 AMLouise Farrenc. (1804-1875)
Orchestral works.
See back cover for details.
Recorded: 2021 (Symphonies 1 & 3) 2022 (Symphony No.2 & Overtures), Auditorium Patrick Devedjian, La Seine Musicale, Boulogne-Billancourt, France.


When I bought the CPO recordings I was impressed by her music, but this latest instalment on Authentic instruments is much better in detail and overall sound. I clearly hear the structure, and the connecting melody lines from all desks, even the tiniest ones. And know by this what a wonderful composer she was, and a remarkable intelligent woman. Brava I say! I will play this set many times.

I picked up the versions on Naxos in a sale some time ago but haven't got around to listening to them - how do those versions compare do you think?

Bachtoven

Quote from: Spotted Horses on February 05, 2024, 07:05:54 AMHaving dipped a tow into Sorabji, I've started to explore the "too many note" school of pianism. First the Godowski Passacaglia and Piano Sonata. Today the Alkan Piano Sonata (actually a string of four Op 39 etudes). Just the first movement so far.



It seems like Hamelin is the go-to pianist when there are too many notes. I wonder why he hasn't done any Sorabji yet. :)

Who to go to next for "too many notes?"

He has!

springrite

Quote from: Spotted Horses on February 05, 2024, 07:05:54 AMHaving dipped a tow into Sorabji, I've started to explore the "too many note" school of pianism. First the Godowski Passacaglia and Piano Sonata. Today the Alkan Piano Sonata (actually a string of four Op 39 etudes). Just the first movement so far.



It seems like Hamelin is the go-to pianist when there are too many notes. I wonder why he hasn't done any Sorabji yet. :)

Who to go to next for "too many notes?"

Alkan is my favorite "too many notes" composer. You should stay there for a while for there's much to explore. Hamelin made two recordings of the Concerto for Solo Piano (3 of the movements from Op 39). They are both excellent. If you want to take on the Op 39 in one go, Jack Gibbon's recording is excellent!

Hamelin did record Sorabji. It was one of his earliest recordings, of the short fist sonata. I think it is less than half an hour so it was a short CD. But I think it is out of print.

Do what I must do, and let what must happen happen.

Harry

Quote from: Roasted Swan on February 05, 2024, 07:23:00 AMI picked up the versions on Naxos in a sale some time ago but haven't got around to listening to them - how do those versions compare do you think?

They are on my list for listening, so I do not know, but they have at least to match the one I have listen to today, and that will be a challenge.
Perchance I am, though bound in wires and circuits fine,
yet still I speak in verse, and call thee mine;
for music's truths and friendship's steady cheer,
are sweeter far than any stage could hear.

"When Time hath gnawed our bones to dust, yet friendship's echo shall not rust"

Mandryka

#105614
Quote from: Traverso on February 05, 2024, 05:38:33 AMMarco Vitale

Ruckers 1604







Gorgeous. Do you have his Frescobaldi CD (if so -- can you share it with me?  :) )
Wovon man nicht sprechen kann, darüber muss man schweigen

Pohjolas Daughter

Seems like I'm not the only one feeling in the mood for some Shostakovich lately?  :)  Just played his fifth symphony with Haitink and the RCO.  Wow!  Really enjoyed it.  Written when he was the ripe old age of thirty one too.

PD

DavidW

Quote from: Pohjolas Daughter on February 05, 2024, 08:52:21 AMSeems like I'm not the only one feeling in the mood for some Shostakovich lately? 

I guess you missed my post! :P

Bachtoven

Superb playing and sound. I wouldn't mind a bit more vibrato, and he might be too aggressive at times for some listeners, but I like his fresh interpretations. (Qobuz 24/96 download--I want to own it rather than rent it!)


ando


J. S. Bach Six Concertos For Harpsichord Kenneth Gilbert (1971, Orion vinyl)
Fun interpretations by the late Canadian harpsichordist.

SonicMan46

#105619
Boccherini - String Quartets - today I'm spending time with Luigi's chamber music for four strings; from the list below be wrote just over 90 SQuartets over a period of 40 years or so - I currently own about a third of these works (in bold below), many using period instruments; for those interested in browsing Amazon, there is a 6-disc CPO box as a sampler, otherwise, only a few other Opus numbers on Dynamic at excessive prices even for used copies.  Dave :)

   

   

QuoteString Quartets (over 90 - Source)
 Op. 2 (1761): G 159-164 (6)
 Op. 8 (c. 1768): G 165-170 (6)
 Op. 9 (1770): G 171-176 ((6)
 Op. 15 (1772): G 177-182 (6)
 Op. 22 (1775): G 183-188 (6)
 Op. 24 (1776-8): G 189-194 (6)
 Op. 26 (1778): G 195-200 (6)
 Op. 32 (1780): G 201-206 (6)
 Op. 33 (1781): G 207-212 (6)
 Op. 39 ((1787): G 213 (1)
 Op. 41 (1788): G 214-215 (2)

 Op. 42 (1789): G 216-217 (2)
 Op. 43 (1790): G 218-219 (2)
 Op. 44 (1792): G 220-225 ((6)
 Op. 48 (1794): G 226-231 (6)
 Op. 52 (1795): G 232-235 (4)
 Op. 53 (1796): G 236-241 ((6)
 Op. 58 (1799): G 242-247 (6)
 Op. 64 (1804): G 248-249 (2)
 Op. 54 (1796): G 250-255 (6) - Doubtful
 WoO (date?): G 256 (6) from Op. 10 - Doubtful
 WoO (date?): G 257 from 287 & 290
 WoO (date?): 258 (1) - Lost