What are you listening 2 now?

[Der lächelnde Schatten]

So far (2 CDs in) it's fine but no reason to suggest it over any other cycle. I have a number of cycles, but I've no clear favorite. I don't like Annie Fischer. I do like Paul Lewis more than most people here.
Perhaps you might try Paul Badura-Skoda's fortepiano set.
I do like Schiff, btw.

Thanks for the feedback, Jeffrey.

[Harry]

Georg Philipp Telemann.
The Complete Violin concertos.
Volume II.
See for details back cover.
L'Orfeo Barockorchester, Elizabeth Wallfisch.

As beautiful as the first volume. I ignored these recordings for a long time, for no reason at all, or one I forgot. But it is a major undertaking to record all the Violin concertos. they are up to volume VIII already, so who knows even more may come, or not. CPO did a lot to further the music by Telemann and their dedication is well noted by me. CPO is the label of which I have the most CD'S in my collection. 8 Violin concertos on this CD, which in some cases exceed the one's Bach wrote, and that is saying a lot. There is nothing than praise for performance and sound.

[Der lächelnde Schatten]

Relevant to this thread, but I'm having a difficult time seeing cover photos that members have linked from Presto Classical. I went on Presto's site and all the images that I try to enlarge have blue squares with question marks, but I looked into permissions and nothing looks out-of-the-ordinary. I'm using Apple Safari. Anyone know what the issue could be? Thanks in advance.

[nico1616]

One Haydn symphony a day brings me to number 5 now, the first pleasant surprise that I did not expect. Great sound of the horns here and the first movement is a moving adagio.

[Der lächelnde Schatten]

NP:

Faure
Cello Sonata No. 2 in G Minor, Op. 117
Pauline Bartissol, Laurent Wagschal

[Harry]

HENRY PURCELL (1659–1695).
Ayres for the Theatre.
THE PARLEY OF INSTRUMENTS, Peter Holman.
Pitch: A = 415 Hz.
Temperament: Vallotti, prepared by Richard Clayson.
Recorded in St Michael's Church, Highgate, London, on 6, 7 January 1986.

What is there not to like, for these recordings of old have no competition to fear, there are simply none better. Not in interpretation, performance or sound, its all perfect. Purcell shines and sparkles under the Parley's and Holman's direction.

 

[Harry]

One Haydn symphony a day brings me to number 5 now, the first pleasant surprise that I did not expect. Great sound of the horns here and the first movement is a moving adagio.

Did you hear the underground noises already? Or a lorry driving by the church, and lots of other singularities.     I have lived with these recordings for a long time, and played the whole sets dozens of times, until I replaced them for the Christopher Hogwood set on L'Oiseau-Lyre label, a more authentic set which I cherish. But Dorati is a great set to start with, I still like them, but my love is over, so I divorced myself from Dorati.

[ritter]

First listen to this recent a acquisition (and it's been a while since I last listened to any music by Peter Eötvös):



The first work on the CD is Steine, Eötvös' tribute to Pierre Boulez on his 60th birthday (in 1985). Steine are stones, or pierres, get it?  I had seen the work live under the composer here in Madrid a decade ago, and that was great fun. It had already been recorded on Kairos with the Klangforum Wien, but this 2019 live recording uses a 2017 revision of the score (I don't have a clue what the revision changed, and anyway there's an improvisatory element).

Secret Kiss is a setting (in Japanese) of excerpts of Alessandro Baricco's novella Seta (Silk) for narrator —here Ryoko AokI, for whom the Eötvös' work was written— and chamber ensemble. I've never liked anything I've read by Baricco, but here the music has a ceremonial Noh sound that is quite alluring (at least for me, being completly uneducated in matters of Japanese theatre).

The CD ends with what is Eötvös' second violin concerto, DoReMi. The work is new to me, and sounds very attractive, with exquisite orchestral and solo writing. It was written for the violinist Midori (Midori vs. DoReMi, get it?  ), and here is very well played by Spaniard Leticia Moreno.

There's also a third VC, Alhambra Concerto, premiered by Isabelle Faust and Pablo Heras-Casado and available on a Harmonia Mundi CD (unknown to me).

[nico1616]

Did you hear the underground noises already? Or a lorry driving by the church, and lots of other singularities.     I have lived with these recordings for a long time, and played the whole sets dozens of times, until I replaced them for the Christopher Hogwood set on L'Oiseau-Lyre label, a more authentic set which I cherish. But Dorati is a great set to start with, I still like them, but my love is over, so I divorced myself from Dorati.

I don't think I would notice these things since my headphones are not noise-cancelling so I'd probably think it is just an outside noise. But I keep my ears open, haha. I am not really a starter to Haydn, I have those 10 Hogwood boxes though I have hardly listened to them. For the moment my favorite cycle is the ongoing Haydn 2032  of which I own most volumes. But Dorati seems like a great way to go through all of the symphonies from 1 to 104. My guess is I will recognize half of the symphonies.

[Linz]

Jean Sibelius Symphony no. 7 in C, op. 105: BBC Symphony Orchestra
Roy Harris Symphony No. 3 Boston Symphony Orchestra
Ludwig van Beethoven Symphony no. 5 in c minor, op. 67, London Symphony Orchestra

[ritter]

And now, Florent Schmitt's wonderfully OTT Psalm XLVII, with Denise Duval (sop.), Georges Tessier (violin), Maurice Duruflé (organ), the Chorale Élisabeth Brasseur, and the Paris Conservatoire Orchestra, conducted by Georges Tzipine.



I'm much more keen on Schmitt's late works than on the early, orientalist, Hollywoodesque (avant la lettre) stuff, but this is great fun!

[hopefullytrusting]

@Der lächelnde Schatten @Que

/img]

Nearly done with Bieber's Violin Sonatas (Manze/Mundi), and these are pitch perfect recordings. The production is super high, no flaws there. The playing is super high, no flaws there. Manze's use a baroque violin, which I think matters considerably, as the tone between baroque and modern violins is significant. Obviously, these are composed excellently - it is Bieber, one of the supreme masters of the craft. The accompanists are equally excellent, and they never get drowned out. Mundi might be my favorite label, as I find all of their recordings warm (almost fuzzy),  but I know that doesn't work for every composer (example, my favorite Brahms Symphonies are on Erato, which is a label who I would say that their recordings are more biting and crisp).

High recommend.

[Linz]

Anton Bruckner Symphony No. 4 in E Flat Major, 1878/80 Version (1880 with Bruckner's 1886 revisions) - Ed. Leopold Nowak, Berliner Philharmoniker, Riccardo Muti

[Traverso]

Handel

CD 3

[SonicMan46]

Corelli, Arcangelo (1653-1713) - Concerti Grossi, Op. 6 w/ Pavlo Beznosiuk & the Avison Ensemble on period instruments; probably one of the most influential set of 'concerto works' written for the era, as noted in the quote below. Reviews attached - Dave

Twelve concerti grossi, Op. 6, is a collection of twelve concerti written by Arcangelo Corelli probably in the 1680s but not prepared for publication until 1714. They are among the finest and first examples of concerti grossi: concertos for a concertino group (two violins and a cello) and a ripieno group of strings with continuo. Their publication – decades after their composition – caused waves of concerto grosso writing in Germany and England, where in 1739 George Frideric Handel honored Corelli directly with his own "Opus 6" dozen. (Source)

 

[Traverso]

Bach

[Iota]

Orlando Furioso. ( in the music of the sixteenth century)
Of loves and ladies, knights and arms, I sing, of courtesies, and many a daring feat.
Madrigali sul Poema di Ludovico Ariosto.
La Compagnia del Madrigale.
Recorded: nella Chiesa della B.V. Maria del Monte Carmelo al Colletto, Roletto - Pinerolo (Torino) 2009.2010.

This ensemble is composed, among others, of members of the two renowned Italian vocal ensembles La Venexiana and Concerto Italiano, and this one can hear. To begin with no countertenors thank God. Secondly the voices fit so well together and blend so perfectly that it is an absolute pleasure to hear such a fine performance, in very good sound. I was surprised hearing such beauty on this dreary morning, it lifts my spirits sky high where I might find some rays of the hiding sun.

I owe you a very big tip of the hat, @Harry, I thought I'd give this a listen as a result of your post, and am completely bowled over. Apart from the gorgeous sonic beauty of the ensemble, the selection of music is lovely and has a great balance, and the craftmanship I know from La Venexiana (whom I love) is coloured at times by a kind of velvety quality in the bass that I don't recall hearing before. Anyway thanks very much, a wonderful discovery.

[Lisztianwagner]

Music in Versailles

Gustav Leonahrdt (harpsichord), Sigiswald Kuijken (violin), Wieland Kuijken (viola da gamba)

[André]

I have now listened 5 times to Berwald's Estrella de Soria on Musica Sveciae. I'll now give it a rest but I want to reiterate how engrossing and wonderful the music is. And Musica Sveciae's lavish presentation is worthy of the enterprise.

[Linz]

Rued Langgaard Symphony no. 1 "Klippepastoaler" ("Mountain Pastoale") Danish National Symphony Orchestra, Thomas Dausgaard