What are you listening 2 now?

[Karl Henning]

Do you really expect an answer?

Hey, you never know!

[ChamberNut]

Do you really expect an answer?

I have $5 on NO.

[Florestan]

I have $5 on NO.

I'll raise you $25.

[Linz]

Felix Mendelsohn Piano Trio in C minor Op. 66
Edouard Lalo, Piano Trio A Minor, Op. 26, The Gryphon Trio

[ChamberNut]

I'll raise you $25.

Maybe he's just an auto generating Bruckner bot? 

[hopefullytrusting]

Any opinions on this performance?  How does it compare to Eugen Jochum's on DGG?

Personally, I prefer Rozhdestvensky, at least in the qualities I am concerned with when it comes to Bruckner: sonic fidelity, note articulation, and blasting brass - I find that Jochum can, at times, muddle and mush, which might be a Wagnerian thing, but I find that I think, compositionally, Bruckner wanted to emulate Brahms more (sort of like Schoenberg), and so, on those merits - I would recommend this symphony, and in fact the entire set, over Jochum's (Rozh is my favorite conductor though, so there is also that, but I find him a master of what I love).

[Iota]

Do you really expect an answer?

Perhaps Cato wanted to join Ives in composing an unanswered question?

[Karl Henning]

Hey, it's a forum. One asks questions. 

[ChamberNut]

Personally, I prefer Rozhdestvensky, at least in the qualities I am concerned with when it comes to Bruckner: sonic fidelity, note articulation, and blasting brass - I find that Jochum can, at times, muddle and mush, which might be a Wagnerian thing, but I find that I think, compositionally, Bruckner wanted to emulate Brahms more (sort of like Schoenberg), and so, on those merits - I would recommend this symphony, and in fact the entire set, over Jochum's (Rozh is my favorite conductor though, so there is also that, but I find him a master of what I love).

😡

[hopefullytrusting]

😡

FOR @Cato

[Karl Henning]

Personally, I prefer Rozhdestvensky, at least in the qualities I am concerned with when it comes to Bruckner: sonic fidelity, note articulation, and blasting brass - I find that Jochum can, at times, muddle and mush, which might be a Wagnerian thing, but I find that I think, compositionally, Bruckner wanted to emulate Brahms more (sort of like Schoenberg), and so, on those merits - I would recommend this symphony, and in fact the entire set, over Jochum's (Rozh is my favorite conductor though, so there is also that, but I find him a master of what I love).

Most interesting. 

[Iota]

.. I feel compelled to add I hope @Linz won't feel mine and some other posts are any kind of attack on him. He posts some interesting looking recordings which I'm happy to see, and I think its good that people can be just as they are on here.  : )

[DavidW]

I've found a great new recording of Shostakovich's 15th!!


This other new release is pretty neat too, but you know crowded field and all that:

[Roasted Swan]

On Amazon (and I assume other sites too...) if you search "Bruckner - Selected Works" in the digital music tab it comes up with a £7.99 download that seems to be all of Rozhdestvensky's Bruckner recordings.  As you might expect with that conductor the interpretations are emminently sane and effective - yes the brass does have an edge you won't get in more 'standard' versions but I have to say I enjoy these versions......

https://www.amazon.co.uk/dp/B002A6228U/ref=sr_1_1?crid=HJ1YPH9V4SOV&dib=eyJ2IjoiMSJ9.iJthGx6wXgqccvdFsIPktseyrOcPuwsQnZ-yDV1lvyvqIdIf8cG_shZl6NAGWJQoRq1gbIMlz1kEES92GoSPbspYxIN7cd0Mrb8Z6FzlKtw.-Tqv5RYXn2jC5qkNvi9FHxP4omwS0cQIRtRsZdq87fM&dib_tag=se&keywords=Bruckner+selected+works&qid=1738262822&s=dmusic&sprefix=bruckner+selected+works%2Cdigital-music%2C77&sr=1-1

[André]

Hey, it's a forum. One asks questions.

Hoping for an answer.

[Iota]

This other new release is pretty neat too, but you know crowded field and all that:

Crowded field it may be, but I love her playing on that album, it has a very special quality.

[Karl Henning]

Hoping for an answer.

Hope springs eternal.

[André]

Don't get distracted by the cover's young chick's good looks. There's more to this set than meets the eye.

It's a 2-disc set, part of a trio of such sets from CPO. They were made to document German Radio's project of commissioning works for radio transmission - no concerts, no discs, just radio. It started in 1929 (the year Germany started airing radio broadcasts) and ended in 1933 - entartete stuff and all that. Think of the movie Cabaret.

Strictures were put forward to make sure the new works would suit the medium: no fancy, lush post-romantic harmonies, no more than 17 instruments - generally a few winds, percussion and string trio. All the vocal parts had to be intelligible, using clearly enunciated easy vocal lines or sprechgesang.

Despite these constraints, composers responded enthusiastically. Works for the radio project poured out from the pen of Weill, Hindemith, Haas, Braunfels, Schreker, Toch, Sutermeister and lesser luminaries. All kinds of works, some purely instrumental, but most including spoken or sung parts. Listeners familiar with Kurt Weill will know what to expect (his Berliner Requiem is part of this set). There's a fascinating short radio opera from Sutermeister (a Hansel und Gretel-type story featuring a narrator, 2 singers, a small chorus and instruments), a 'radio overture' from Haas, etc.

What makes this set (and presumably the other 2) especially valuable is the quality of the realization: outstanding musical execution (instruments and singers), superb sound, experienced theater actors for the narration. I even found myself thinking that German actually sounds lovely when spoken/sung with such care for enunciating the words, finding the right rythm, accents and colours.

Not forgotten masterpieces maybe, but superbly crafted gems in a loving realization. Recording of the month on Musicweb.

[Traverso]

Bach

[Spotted Horses]

There's some very high-octane playing on this release. I like it, but it might not be to all tastes.

I had never heard of this pianist before and looked up what was available to stream. First I tried her recording of the Chopin second sonata, which was quite good, convulsive heaving in the appropriate passages comparable to Pogorelić, who is my reference (his 1980 recording, his debut LP for Deutsche Grammophon). But I went to the Liszt and the Liebestraum did not work for me. The opening is very quiet, which allows for a big buildup to the dramatic conclusion, but it seems to relegate the first part of the piece to setting the stage for the big climax. I put on dependable Arrau and sure enough that opening passage is played full throated with much harmonic sensuality in evidence.

The other question is, who is "Klavierman" and why did he quit? Was Klavierman using another name that I would recognize?