What are you listening 2 now?

[JBS]

With two recordings on the shelf (Herreweghe on HM & Dufay Ensemble on Ars Musici), I probably do not need another... but still curious: how it is? 

I don't have the Dufay and don't remember the Herreweghe, so I can't compare.
The choir is 4 sopranos, 2 male altos, 5 tenors, 4 basses. It was recorded in the Pieterskerk of Utrecht.
One little extra is the inclusion of QR codes that allow you to download the original manuscript (now in the Bavarian State Library), a set of 4 codices lavishly illustrated by a painter based in Munich, Hans Meilich. The cover image is apparently taken from the manuscript.

[Roasted Swan]

Here's one for Kyjo if he his loitering around the forum!  Do you know the Friedrich Gulda Cello Concerto

I didn't but its just appeared in a violin version played by the great Benjamin Schmid. [search on youtube "Gulda Cello Concerto" if this isn't displaying - this is the original version played by dedicatee Heinrich Schiff] One of the oddest/cheesiest (quite deliberately) pieces I think I've ever heard.  Mixing up a whole bunch of popular music styles from funk to jazz/tango/oom-pah/landler - its really all over the shop.  Sounds terrifyingly hard for the soloist - good enough to be worth all the work?  I really don't know - but its a fun ride for sure.......

here's Schmid playing a bit of the work and talking about it too.....

[Der lächelnde Schatten]

NP:

Vivaldi
Concerto in G For 2 Mandolins, RV 532
Europa Galante
Biondi

[vandermolen]

Erik Chisholm: Symphony No.2 'Ossian'

[Der lächelnde Schatten]

NP:

Handel
Suite No. 5 in E Major, HWV 430
Lisa Smirnova

[Der lächelnde Schatten]

NP:

Handel
Will Magnify Thee, HWV 250A, "Chandos Anthem No. 5"
Various soloists
The Sixteen Choir and Orchestra
Christophers

From this set -

[pianococo90]

Ennio Morricone
Ipotesi for clarinet and piano

[Linz]

Rued Langgaard On the Death of Edvard Grieg
Sphinx Tone paintng for choir, organ and orchestra
Hvidhjerg-Drapa  For choir, organ and orchestra
Denmarks Radio  Fanfares for  orchestra
Res absirda!?  For choir and orchestra
Symphony no. 15 Symphony no. 15  1. "The Sea Storm" for bass baritone solo, male chorus and orchestra 
Symphony no. 16 "Sun Deluge
Danish National Symphony Orchestra, Thomas Dausgaard

[SonicMan46]

Robert de Visée - famous string instrumentalist and composer in the courts of Louis XIV/XV - own about a dozen CDs - first four up for this morning's listening below. Dave

Robert de Visée (1652-1730) was a French lutenist, guitarist, theorbist and viol player at the court of the kings Louis XIV and Louis XV, as well as a singer and a composer for lute, theorbo and guitar. (Source)

[prémont]

Yes, I get a satisying sense of hearing a true trio sonata in e.g. A major 1st movement, F minor 2nd movement...

I should also mention that I find Bezuidenhout outstanding in the G major sonata.

Thanks.

I see that I need this recording.

[Traverso]

Richard Strauss

[Linz]

Anton Bruckner Symphony No. 4 in E Flat Major, 1878/80 Version (1880 with Bruckner's 1886 revisions) - Ed. Leopold Nowak, NHK Symphony Orchestra, Hiroshi Wakasugi

[San Antone]

Schubert : Arpeggione Sonata
Lorenz Duftschmid (arpeggione by Caroline Zilmann & Steffen Milbradt, 1999 Meissen after Mitteis/Staufer ca. 1825) and Paul Gulda (fortepiano by Conrad Graf, 1824)

[Florestan]

Today has been dreadful, music might restore my sanity...



The end of de Larrocha's Hispavox albums, this time reissued in a pretty straightforward fashion because there wasn't any very obvious pairing for Soler.

There are a few loose albums from around this period of her ending with Hispavox and starting with Decca, which I'll explore where possible. One thing is really crystallizing for me though, and that's a very large chunk of Alicia de Larrocha's career was spent recording the same Spanish music 3 or 4 times, for 3 or 4 different record companies. The difficult question is how much of that was her own wish, and how much of it was the later non-Spanish record companies saying "you're our Spanish pianist, we want you to record the Spanish piano repertoire for us".

Without having deliberately done side-by-side comparisons, the impression I get that her interpretations didn't change enormously over time. So the effect is that her overall body of work is a lot smaller than it might have been in a recording career that lasted over 4 decades. And even with reissues the message tends to be that she is the Spanish pianist, because her non-Spanish repertoire is much less likely to be reissued.

Have you listened to her Mozart sonatas and concertos? If yes, what do you make of them?

[Mandryka]

Thanks.

I see that I need this recording.

We talked about it when it was released - you were in magisterial form!

[flash=200,200]https://www.youtube.com/v/Lzlqtpa2wSQ[/flash]

In this interview Bezuidenhout and Faust, I'm having a lot of difficulty understanding what Bezuidenhout is saying at around 4:25.

He is adamant that Bach is writing for harpsichord and violin. His"argument" seems to rest on the third movement of the e major and the first movement of the b minor, where he asserts that it's "very clear that Bach is writing for the harpsichord", a style of writing which he seems to oppose to three voiced counterpoint, where violin is as important as the keyboard.

In fact I like what Gester does with the third movement of the e major. 

There are a few movements in these sonatas, which deviate from the general trio-writing.

B minor first movement with three part writing in the harpsichord almost throughout and some double stops in the violin. The harpsichord part may be a realised continuo part, since the violin seems to have a leading role in this movement.

E major first movement with an aria-like setting of the violin part (the violin again in a leading role) and probably a written out continuo part in the harpsichord.

E major third movement. a trio movement with occasional continuo realisation in the harpsichord part and occasional chordal writing in the violin.

F minor first movement with three part writing in the harpsichord throughout.The three parts in the harpsichord are equal and share identical thematic material. The violin has got its own somewhat different thematic material, and I wouldn't be surprised, if this movement originated as a three part keyboard piece, the violin part having been added at a later stage.

F minor third movement with persistent double stopping in the violin and fast arpeggios (again resembling a written out continuo part) in the harpsichord. So in reality a trio sonata,  the violin playing the two upper parts.

G major second movement with a few added (non-thematic) third part notes in the harpsichord.

G major third movement harpsichord solo.

In their present shape the sonatas are without doubt intended for violin and a keyboard-instrument (harpsichord or organ). The strict trio-writing for most of the movements might point to arrangements from earlier composed trio-sonatas, but the above mentioned deviations from strict trio-writing might (as to these movements) point to other kinds of precursors, most likely sonatas for melody-instrument and continuo.

I agree, it's not quite clear what Bezuidenhout is trying to say, other than that it's fabulous writing, and that he really likes the keynoard part. He ends saying these are specifically chambermusic pieces and not for the concert hall. But that should go without saying.

[Linz]

Wolfgang Amadeus Mozart Mozart Szell Original Jacket Cleveland Orchestra CD8, Robert Marcellus clarinet
Concerto No. 25 in C Major for Piano and Orchestra, K. 503, Leon Fleisher piano, The Cleveland Orchestra, Georg Szell

[prémont]

We talked about it when it was released - you were in magisterial form!

However I didn't purchase it. I never was a great fan of Isabelle Faust in J S Bach's solo violin works. And believe it or not, I think I considered the amount of recordings I owned of the sonatas by then more than enough. None-the-less I have since then collected at least a dozen sets more of these works.

[Karl Henning]

Stravinsky

Symphonies of Wind Instruments
Octet



One of my favourite discs in the Netherlands Wind Ensemble box so far (I think I've listened to 13 out of 17).

I've been saving this one up. Will listen soon.

TD: Cross post

[Madiel]

Have you listened to her Mozart sonatas and concertos? If yes, what do you make of them?

No, not yet, I intend to though.

[hopefullytrusting]

This might be the best bang-for-your-buck cd in existence (this is the disc I would use to sell someone on classical music): Kempe with the SD in R. Strauss's Tone Poems



If we wanted to make this the goat recording, it would need Eine!