What are you listening 2 now?

[Madiel]

Sullivan: The Pirates of Penzance



I didn't know until today that they premiered this one in New York, in part because of copyright problems in the USA and not wanting to lose out to, ahem, pirated versions.

[Karl Henning]

Today, in celebration, it may be, of the New Year: a kind of milestone in my non-systematic listening to Sorabji, generally, and to his Opus Clavicembalisticum MCMXXX, particularly, I've listened to the Interludium primum. And yes, I'm chuckling a bit at an "Interlude" which spans 58 minutes.

[Mapman]

Schubert: Symphonies 2 and 8 (Unfinished)
Steinberg: Pittsburgh

I posted a few months ago about how I thought Karajan's approach didn't work in Schubert's 2nd. Steinberg's performance seems quite a bit better.

[André]

Disc 2. The Berliner Philharmoniker in an incredibly adventurous Mozart program of symphony no 35 'Haffner', concerto no 21 (w. Geza Anda) and 'Jupiter' symphony.

Karajan was clearly on a mission here, but it was a foolhardy one. Of course he could not ruin the concerto (not yet nicknamed Elvira Madigan, the 1967 film that used its slow movement as signature music). Also, he was good pal with the soloist, so we get a fine but unadventurous performance. Adventure awaits though in the breakneck speeds Karajan insists on in the finale of the two symphonies. In the Haffner he has the Berliners zip through it in 3'26'' (the booklet says 3'56'', but the track is filled up with applause). In his studio performances on DGG and EMI he took about 10 seconds more. A very small difference, but the Orfeo captures a live performance, where no edits or retakes can be made. It's incredible the orchestra didn't fall apart on the stage of the Festspielhaus.

In the Jupiter Karajan ups the ante by clocking the finale at 5'26'', a full 30 seconds less than the super zippy studio performances from the 1970s. It's an absolute scramble, the more so as the first pages of the movement are taken at a normal pace. The last minute is just one big mess. I must admit I have rarely heard the usually bland andante played so beautifully as here. It's not just perfectly paced and played, but he gets the affect just right.

While researching reviews on this set online I found a review by our own Jens Laurson published on Fanfare. Jens does mention the speeds in the Haffner ('over before it starts') and he finds the Berger symphony less interesting than the von Einem concerto which, fine. Responses on little-known music can vary widely of course. I'm curious to see if I'll like the Bruckner 8 more than he did. He writes that he vastly prefers the studio version Karajan and the Berliners had taped just a few weeks before (an interpretation I detest). That should be fun !

[Madiel]

And yes, I'm chuckling a bit at an "Interlude" which spans 58 minutes.

If you persisted that long, you're a more committed listener to Sorabji than I could ever manage.

[Madiel]

Bach, J.S.: Dem Gerechten muß das Licht (BWV 195)

A cantata for a wedding.



The opening chorus is exceptionally glorious. The rest is pretty great too - I seem to remember that the general view is that the late albums of Suzuki's series are amongst the best. It seems a pity that there's evidence of some of the original music of this work being lost.

[Madiel]

Poulenc: 8 Polish songs



I continue to be slightly fascinated by this work. Of all the languages that Poulenc might set, I wouldn't have readily guessed Polish.

[AnotherSpin]

Disc 2. The Berliner Philharmoniker in an incredibly adventurous Mozart program of symphony no 35 'Haffner', concerto no 21 (w. Geza Anda) and 'Jupiter' symphony.

Karajan was clearly on a mission here, but it was a foolhardy one. Of course he could not ruin the concerto (not yet nicknamed Elvira Madigan, the 1967 film that used its slow movement as signature music). Also, he was good pal with the soloist, so we get a fine but unadventurous performance. Adventure awaits though in the breakneck speeds Karajan insists on in the finale of the two symphonies. In the Haffner he has the Berliners zip through it in 3'26'' (the booklet says 3'56'', but the track is filled up with applause). In his studio performances on DGG and EMI he took about 10 seconds more. A very small difference, but the Orfeo captures a live performance, where no edits or retakes can be made. It's incredible the orchestra didn't fall apart on the stage of the Festspielhaus.

In the Jupiter Karajan ups the ante by clocking the finale at 5'26'', a full 30 seconds less than the super zippy studio performances from the 1970s. It's an absolute scramble, the more so as the first pages of the movement are taken at a normal pace. The last minute is just one big mess. I must admit I have rarely heard the usually bland andante played so beautifully as here. It's not just perfectly paced and played, but he gets the affect just right.

While researching reviews on this set online I found a review by our own Jens Laurson published on Fanfare. Jens does mention the speeds in the Haffner ('over before it starts') and he finds the Berger symphony less interesting than the von Einem concerto which, fine. Responses on little-known music can vary widely of course. I'm curious to see if I'll like the Bruckner 8 more than he did. He writes that he vastly prefers the studio version Karajan and the Berliners had taped just a few weeks before (an interpretation I detest). That should be fun !

Thank you for the recommendation and detailed feedback. I just listened to the Mozart disc. I enjoyed Symphony No. 41 a lot. The finale didn't seem messy to me; it's quite acceptable for a live recording of that era.

As for Bruckner's 8th, without wanting to get ahead with a review before you've listened to it yourself, I'll say that my impression is middling. However, I'm not particularly fond of mature Karajan's Bruckner, and this performance feels somewhat grounded, albeit executed nicely. The incomplete wartime recording from 1944 is incomparably more appealing.

[Que]

A couple of New Year's cantatas from the Leonhardt/Harnoncourt series.
Starting of with Jesu, nun sei gepreiset, BWV 41. New Year's cantatas always strike a cord with me, often full of gratitude and hope...

[Que]

Music by François Dufaut, Jacques Gallot, Jean Mercure and Germain Pinel.

Performances are elegant but on the detached/analytical side. The two latter composers were new to me!

[foxandpeng]

If you persisted that long, you're a more committed listener to Sorabji than I could ever manage.

I have always put down my complete disconnection from Sorabji's work, to inexperience and inner failings in my own capability, but with time I have become more convinced that he just isn't very good. I know that may be a subjective assessment rather than a comment upon his gifting and output, but I'm pretty sure Sorabji won't be on my listening list for 2025.

[Madiel]

Brahms: Clarinet sonatas



I haven't listened to these works for a long time, especially the 2nd sonata which actually I might prefer.

In between the 2 sonatas, I started watching the Danish comedy The Orchestra. It turns out one of the main characters is a vain and aggressive 2nd clarinettist... somehow it was just funnier in context!

[Traverso]

Bach

[Madiel]

Bridge: String Quartet no.1, 'Bologna'

[Harry]

Karl Weigl.
SQ.
See back cover.
Artis Quartett Wien.
Recorded: 1999 at Wyastone Concert Hall, Monmouth, Wales.

Both SQ show a composer in harmony with his time and at peace with his past. The first quartet is a revelation, with Mahler's shadow clearly in the foreground, that in itself was a remarkable discovery. I did not know that Weigl was a pupil of Robert Fuchs, (also a much admired composer in my book) and this you also hear in his SQ. Weigl is a emotional and spirited composer who deserved the highest praise. I love most of his Orchestral works, but boy these SQ deliver the message in a forceful way, meaning that you will not lightly forget the fiestas he creates. Fine performances and sound!

[Harry]

Edward Alexander MacDowell (1860– 1908)
Orchestral Works.
Volume I.
See back cover for details.
Xiayin Wang piano*
BBC Philharmonic, John Wilson.
Recording venue MediaCityUK, Salford, Manchester, 2023 (all works except 'To a Wild Rose') 2024.

New Release

This is on all accounts pretty impressive. And a Volume I, that's promising. Excellent sound and performance.

[Spotted Horses]

And now, Ernst Krenek's String Quartets No. 3, op. 20 and No. 7, op. 96. Played by the Sonare-Quartett.

That release seems to have vanished into the void, no trace of it streaming or for download that I could find,  only sparse offerings of used copies on eBay. Any good?

I managed to find another recording of the 7th, quite thorny.

[ritter]

That release seems to have vanished into the void, no trace of it streaming or for download that I could find,  only sparse offerings of used copies on eBay. Any good?

I managed to find another recording of the 7th, quite thorny.

I've had the Sonare Quartett set of Krenek's SQs for many years now (mid-90s? — it was released in 1992). I've read several negative reviews, and TBH the playing doesn't seem the most refined to me. But I have nothing to compare the performances to, the set is AFAIK the only complete traversal of the whole cycle, and in that sense it is perfectly satisfactory as far as I'm concerned.

I might check out the Petersen Quartett discs. Thanks for bringing them to my attention.

[Traverso]

The delivery of the Bach Vocal Works Suzuki is delayed by one day, the good news is that the price has been reduced to 261.19€.
For the price difference I now receive a gift voucher of 29€ 

Bach

[Harry]

The Floating City.
Sonatas, canzonas and dances by two of Monteverdi's contemporaries: Dario Castello (fl 1610–1620) and Giovanni Picchi (1572–1643).
HIS MAJESTYS SAGBUTTS AND CORNETTS.
Recorded on 17–19 September 1997.
Front illustration: View of Venice by Eduardo Fialetti (1573–1638) The painting is annotated in Latin: 'The city that almost floats on the water'.

Absolutely delightful. Superb performances and recording. From the olden golden days.