What are you listening 2 now?

[Iota]

Mozart: piano sonatas 10 to 12 (K.330-332)


The relatively famous no.11 in A major (with the Alla Turca finale) is actually my least favourite of the three, though I do still like it. Whereas no.10 in C major is one of my favourite Mozart piano sonatas. The 1st movement is one of the things I play on the piano the most. I wish I could play the finale like Uchida does!

Agreed, I find No.10 irresistible too.

[DavidW]

What do you think about this performance, Dave? I own it, but I've only heard once (I believe).

I've only heard one other recording, so I'm definitely not the guy to ask! I like it, but I have no point of comparison.

[brewski]

Enescu: Romanian Rhapsodie No. 1 (WDR Sinfonieorchester | Cristian Măcelaru, recorded 2019 in Cologne). Love seeing the faces of the musicians, who are clearly enjoying themselves.

-Bruce

[Todd]

10/1.

[Linz]

Wolfgang Amadeus Mozart Complete Clavier-Concerte
Concert 24 c-moll KV 491
Concert 25 C-Dur KV 503
Anima Eterna Jos van Immerseel

[Dry Brett Kavanaugh]

Vesselin Stoyanov: Bulent Tarčan. Bulgarian National Radio Symphony Orchestra & Hikmet Şimşek.

[Le Buisson Ardent]

NP:

Vaughan Williams
A London Symphony
LSO
Previn

From this OOP set -



The 24-bit remastering really helped these recordings. This is an instance where a remaster actually is preferred to the original releases on CD.

[Lisztianwagner]

Very nice, Ilaria. I'll be curious to know your thoughts on the performance. I'm going to wait until this whole project gets done before I commit myself to it.

I couldn't resist to try and listen. I've found it extremely convincing, Verklärte Nacht is a composition that winds and unfolds with exasperated chromaticism from ardent, overwhelming passions to more persuasive, intimate and contemplative passages, and Luisi caught the spirit of the work brilliantly, the string orchestra is very well handled. It's very promising for the rest of the project, I wonder what he will do with the atonal/dodecaphonic pieces.

[Le Buisson Ardent]

I couldn't resist to try and listen. I've found it extremely convincing, Verklärte Nacht is a composition that winds and unfolds with exasperated chromaticism from ardent, overwhelming passions to more persuasive, intimate and contemplative passages, and Luisi caught the spirit of the work brilliantly, the string orchestra is very well handled. It's very promising for the rest of the project, I wonder what he will do with the atonal/dodecaphonic pieces.

Thanks for the feedback. This is good to read, although I had a hunch that Luisi wouldn't muck up this oft-performed classic. Like you, I'm interested in how he'll get on with the free atonal and 12-tone periods.

[JBS]

Balancing out the Lindberg

On the left/top, the cover of my copy of this set; on the right/bottom, the current incarnation

[Le Buisson Ardent]

NP:

Debussy
Estampes
Rafał Blechacz

From this OOP set -

[VonStupp]

Gioachino Rossini
String Sonatas 1-6
Clarinet Variations
Sinfonia 'di Conventello'
Sinfonia 'di Bologna'
Serenata
Grand Overture 'Double Bass'

Dimitri Ashkenazy, clarinet
Bologna Philharmonic - Riccardo Chailly

I wasn't as thrilled with the string orchestra version of the sonatas as I was with the chamber versions, both the string and wind quartet versions.

The accoutrements were enjoyable, though, particularly the two variations for clarinet and Serenata.
VS

[Selig]

Suite III in C
Wispelwey's 3rd recording (2012)
Baroque cello by Pieter Rombouts (1667 – 1740), Amsterdam, 1710
a'=392 Hz

Eye-opening performance. I'm especially blown away by the bourrées and gigue which seem to push the envelope of HIP expressiveness!

[brewski]

Stravinsky: Symphony in Three Movements (New World Symphony / Michael Tilson Thomas, recorded 2018). A dashing, explosive performance from five years ago, just uploaded today.

-Bruce

[Cato]

Thanks for the feedback. This is good to read, although I had a hunch that Luisi wouldn't muck up this oft-performed classic. Like you, I'm interested in how he'll get on with the free atonal and 12-tone periods.

In his notes for the recording of Moses und Aron, Georg Solti wrote that he was very intimidated by the idea of conducting this opera, but that he thought it was time to do so.

After struggling with how to approach the score, he recalled that Schoenberg admired Brahms very much.

So he advised the orchestra to play the score as if they were playing something by Brahms.

[Symphonic Addict]

Enescu: Romanian Rhapsodie No. 1 (WDR Sinfonieorchester | Cristian Măcelaru, recorded 2019 in Cologne). Love seeing the faces of the musicians, who are clearly enjoying themselves.

-Bruce

That work was performed in a concert I attended recently. An exhilarating piece. I was so taken by it that I applauded where the work has this sort of 'false ending' (at 10:39 mark in the video), thinking that it was the real ending!

[JBS]

CD 14 of the Warner New Collector's Edition, which contains two of the very few pieces not contained in the old EMI version


Violin Sonata in a minor*
Phantasy Quintet for 2 violins 2 violas and cello*
Six Studies in English Folk Song for cello and piano*
String Quartet No.2 in a minor*
Fantasia on Greensleeves**
Suite for Viola and Small Orchestra: III Galop**

*Music Group of London:
Hugh Bean, Frances Mason violins
Christopher Wellington viola
Ian Jewel viola 2
Eileen Croxford cello
David Parkhouse piano

** Hubert Downes viola
Osian Ellis harp
Gerald Moore piano
Arranged for viola and harp by Watson Forbes
Recorded 1963, remastered 2022
These are the two pieces not in the old version.

[Le Buisson Ardent]

In his notes for the recording of Moses und Aron, Georg Solti wrote that he was very intimidated by the idea of conducting this opera, but that he thought it was time to do so.

After struggling with how to approach the score, he recalled that Schoenberg admired Brahms very much.

So he advised the orchestra to play the score as if they were playing something by Brahms.

Nice anecdote, @Cato. Thanks for sharing.

[AnotherSpin]

In his notes for the recording of Moses und Aron, Georg Solti wrote that he was very intimidated by the idea of conducting this opera, but that he thought it was time to do so.

After struggling with how to approach the score, he recalled that Schoenberg admired Brahms very much.

So he advised the orchestra to play the score as if they were playing something by Brahms.

A good story about contemporary art. Some play something incomprehensible, pretending it's Brahms, while others offer it to us and expect us to pretend we're listening to Brahms.

[NumberSix]

Brahms: Violin Concerto
Lisa Batiashvili
Thielemann, Dresden