What are you listening 2 now?

[hopefullytrusting]

Mozart's Symphony No. 1 (Marriner): https://www.youtube.com/watch?v=a_GggrJ2Xqo
So energetic, so vigorous - already well-established with formal dynamics and structure. Gorgeous piece.

Next up, the "anti-Mozart," Rameau's Pièces de clavecin en concerts (Ensemble Baroque du Festival D'Aix-En-Provence):
https://www.youtube.com/watch?v=gkcUOht1i4c

[André]

Arthur Butterworth: symphony no 1 in 2 versions:

CD 2 of this set:


And from CD 8 of this one:



There are sizable differences: Barbirolli's performance is from a 1958 Proms performance and is in slightly recessed but very decent mono. Bostock's is in excellent stereo of recent vintage. Another difference is in timings: 34 mins for Barbirolli, 41 for Bostock. The orchestral traditions (Manchester's Hallé and Munich's Symphoniker- not to be confused with that city's Philharmonic) also differ somewhat, but less than one might think at first.

The 1st was Butterworth's own favourite among his symphonies (there's a third recording conducted by the composer on Lyrita, whose timing is closer to Bostock's than Barbirolli's). In any event it's a fine, fine work. The outer movements - esp the finale - pack a lot of punch, but it's the slow movement that made me sit up and take notice. So, highlights: the sibelian slow movement under Bostock and the vicious, malevolent scherzo under Barbirolli's wicked baton.

In terms of particularities of idiom/influences, I noted the contrabassoon growls in the first two movements, the ultra-sibelian (valse triste and 4th symphony) slow movement, the piranhas-infested finale (vivacissimo e furioso) where Barbirolli elicits amazingly precise and biting playing from the Hallé players (Bostock's Münchners have more oomph but slightly less malice).

I have 2 more symphonies from this composer (the present set's 4th as well as the 5th from a companion Dutton release). I must revisit them - and order that Lyrita set of symphonies 1 (under the composer), 2 and 4.

Recommended.

[JBS]

I remember being impressed by that Butterworth symphony when I first heard it (in the Bostock set).

TD
I had pulled out those Beecham budget sets because of the Box Blather thread, so I may as well listen to them.
So first up


Beethoven 2 and 7



(Did the graphic designer confuse the Seventh and the Sixth?)

[André]

Arthur Butterworth: Viola concerto.

How is one supposed to like a viola concerto ? I mean, it's not a violin, it's not a cello and it's not by Berlioz. The instrument's mello-yello, butterscotchy tone, while agreeable in an orchestral section, easily becomes whiny when heard alone against the rest of the orchestra. Its scratchy figurations quickly grate on the ear, while long-lined cantabile melodies never seem to sit well with its throaty tones.

A few (mostly English) composers made its hurdy-gurdy sonorities sound eloquent in the right orchestration: Bartok, Hindemith, Vaughan-Williams, Walton, Rubbra... and Butterworth. At almost 40 minutes, this is a work that screams: 'I've got things to say, so hear me out !' . And it does have a lot to communicate. I absolutely enjoyed listening to Butterworth's fine concerto.

[hopefullytrusting]

Just learned about this today - Cottagecore (think pastoral piano music)

https://www.youtube.com/watch?v=ZrE19_Ca56o

[JBS]

Arthur Butterworth: Viola concerto.

How is one supposed to like a viola concerto ? I mean, it' not a violin, it's not a cello and it's not by Berlioz. The instrument's mello-yello, butterscotchy tone, while agreeable in an orchestral section, easily becomes whiny when heard alone against the rest of the orchestra. Its scratchy figurations quickly grate on the ear, while long-lined cantabile melodies never seem to sit well with its throaty tones.

A few (mostly English) composers made its hurdy-gurdy sonorities sound eloquent in the right orchestration: Bartok, Hindemith, Vaughan-Williams, Walton, Rubbra... and Butterworth. At almost 40 minutes, this is a work that screams: 'I've got things to say, so hear me out !' . And it does have a lot to communicate. I absolutely enjoyed listening to Butterworth's fine concerto.

There seem to have been a whole bunch of viola concertos written in the 20th/21st Centuries. I admit to not having heard most of them. Ironically, this Wikipedia list omits Vasks' 2015 concerto, which I have heard (and of course since it's by Vasks it's good).
https://en.wikipedia.org/wiki/Viola_concerto

[steve ridgway]

Messiaen: Fête Des Belles Eaux

[JBS]

[Der lächelnde Schatten]

NP:

Bach
Wir Danken Dir, Gott, BWV 29
Various soloists
Collegium Vocale Gent, La Chapelle Royale
Herreweghe

[Madiel]

Well, that was grand...



...and I was duly impressed. Did I love it, though? It might need another listen. The sheer scale of it makes it, for me at least, a bit harder to grasp than some of the other serenades. Or possibly it's best not to sort out old orienteering magazines at the same time.

[Der lächelnde Schatten]

NP:

Bach
Christen, ätzet diesen Tag, BWV 63
Various soloists
Collegium Vocale Gent
Herreweghe

[Der lächelnde Schatten]

NP:

Delius
North Country Sketches
Royal PO
Groves

From this set -

[AnotherSpin]

[Der lächelnde Schatten]

Last work for the night:

Handel
Ah, crudel! Nel pianto mio, HWV 78
Raffaella Milanesi (soprano)
La Risonanza
Fabio Bonizzoni

From this set -

[Que]

.

Disc 3, which is recorded on the Renaissance organ of the Grote Kerk in Oosterhuizen, the Netherlands.

[steve ridgway]

Ravel: Rapsodie Espagnole

Although you wouldn't know it from the cover .

[steve ridgway]

Takemitsu: Spirit Garden

[steve ridgway]

Stravinsky: The Firebird.

[Florestan]

« Ce qui est le contraire de la musique , c'est l'arbitraire, la sottise et la gratuité  »  Antonin Artaud

This explains why he was not a composer. 

Good day, Rafael!

[ritter]

This explains why he was not a composer. 

Good day, Rafael!

Well, some do listen gladly to musique sotte et gratuite... À chacun son goût. 

Good morning to you as well, Andrei!