What are you listening 2 now?

[VonStupp]

FJ Haydn
Symphony 21 in A Major, Hob. 1:21
Symphony 22 in E-flat Major 'Philosopher', Hob. 1:22
Symphony 23 in G Major, Hob. 1:23
Symphony 24 in D Major, Hob. 1:24
Austro-Hungarian HO - Ádám Fischer

VS

[André]

Richard Stohr: Symphony No.2 (1942)

Is it good, Jeffrey ? I've never heard of this composer.

[André]

A generous disc featuring some of Gershwin's most popular pieces.

[Karl Henning]

[brewski]

Listening live from Boston on WCRB:

Boston Symphony Orchestra
Andris Nelsons, conductor
Yo-Yo Ma, cello

Shostakovich: Cello Concerto No. 1
Encore: "Moyshele" (Traditional / Les Yeux Noirs  / Arr. Blaise Dejardin) Yo-Yo Ma and the BSO cello section

Shostakovich: Symphony No. 11, "The Year 1905"

[André]

Denisov's Chamber Symphonies - very different from one another - frame two song cycles, one by the composer, the other by his wife and orchestrated by him from the piano original. These works were composed between 1982 and 1994.

This is modern, mostly atonal music, but it is very approachable if you are open to something even more unusual than Schnittke or Webern. Denisov's writing is precise in its intention and effect. It is very 'open': transparent orchestration, everything audible at once, spare textures, melodic lines unfolding with a clear direction.

The first Chamber Symphony is neatly cut in three movements. The second Chamber Symphony lasts under 13 minutes and is in a single movement. It's an explosive affair, more concise than the First.

The song cycle Au Plus haut des cieux is in 12 short sections, 5 of them purely instrumental and under a minute in duration. The texts by French writer/philosopher Georges Bataille are from his 1942 essay L'Expérience intérieure. That work has an entry in Wikipedia, which I attempted to read but failed to make head or tail of. In any case, the songs are often beautiful. Kouprovskaya-Denisova's short cycle is easier on the ear and the mind (Akhmatova's texts are a much easier read). Brigitte Peyré is the excellent singer in these very evocative vocal works. The first is sung in French, the second in Russian.

[Linz]

Camille Saint-Saëns Symphonic Poems
Orchestre National de Lille, Jun Märkl;

[Der lächelnde Schatten]

Going to go through Vaughan Williams' symphonies yet again but this time with Mark Elder --- now playing A Sea Symphony

[Der lächelnde Schatten]

It's a succession of mystical-erotic nonsense... "Lorsqu'autour de sa tête, s'attachera l'auréole, et qu'il aura revêtu sa robe blanche, je le prendrai par la main et j'irai avec lui aux sources de lumière... " 

Here's a Wikipedia article on Dante Gabriel Rossetti's original poem, where you can admire his (equally revolting) painting on the subject.... Yikes!

Good evening, Andrei!

I'm glad to announce that my first granddaughter was born about an hour ago. Mother and child are in perfect shape... 

Congratulations, Grandpa!

FWIW, I LOVE Debussy's La Damoiselle élue, but, embarrassingly, I never paid attention to the Rossetti poem in question. The exquisiteness of the music itself is enough for me.

[Der lächelnde Schatten]

Yes, the quarterts are excellent!

Right on, Karl!

[Der lächelnde Schatten]

Last work for the night --- Tabakova Cello Concerto

[Que]

Not an original listening choice - fellow members have posted this recording at least twice in the past few weeks.
These are the same lamentations by Morales as recorded by Carles Magraner and the Capella de Ministrers. But there a few differences. This is sung a cappella, Magraner adds instruments though sparingly. And this is complete, Magraner has one lamentation missing. And this superb ensemble is Flemish, and they sound like it. Both recordings have a completely different feel to it.

Wonderful recording! 

https://www.musicweb-international.com/classrev/2016/Sep/Morales_lamentations_KTC1538.htm

https://earlymusicreview.com/morales-the-seven-lamentations/

http://www.musica-dei-donum.org/cd_reviews/BIS_2407_Etcetera_KTC1538.html

[Que]

I did not think Gardiner's version could be bettered, but to be honest, Robert King surpasses it.
It is not that the singing is better, but the Hyperion version just has more bite and has a better overall sound. Gardiner was a pioneer in 1980 with one of the first period recordings of a Handel work. King recorded his version in 1999 and it was a different musical world then with a whole generation of singers and choirs that were schooled in this repertoire.

I was indeed impressed by Gardiner, which I have on the shelves. But I guess it couldn't hurt to give the Robert King recording a go! 

[Que]

Somehow I missed this recording from Niquet's Naxos days! 

The music in French style by this Italian composer is absolutely lovely but not very original...

[AnotherSpin]

Gérard Grisey's Les Chants de l'Amour transforms love into spectral soundscapes, dissolving lyricism into pure acoustic phenomena.

[Christo]

Camille Saint-Saëns Symphonic Poems
Orchestre National de Lille, Jun Märkl;

A sudden Saint-Saëns revival here! 

[SimonNZ]

[AnotherSpin]

Beat Furrer's explorations of space in sound evoke the Buddhist concept of emptiness — the rejection of fixed essence, a focus on intervals and transitions, and the impermanence of material form.

[Madiel]

Act One so far.



I don't know if I'll do the entire thing tonight, but I have 4 different operas that I want to watch or listen to right now for various reasons (listening projects mostly) so I thought I should make a start.

I've seen Figaro on video before, but a great many years ago. I picked this version simply because it was the one where the libretto was accessible. I know opinions on this recording vary considerably but so far I'm enjoying it well enough. As well as Mozart's greater maturity, it's clear that Da Ponte's libretto is rather more engaging then many that Mozart dealt with when he was younger.

It's quite funny, though, to have a story set in Seville that's sung in Italian for production in Vienna, based on a French play.

EDIT: The Act Two cliffhanger ending will have to do me for now, it's too late to continue. There were so many famous tunes in Act One, less of that in Act Two but it's very entertaining nevertheless.

[Harry]

Julius Ernst Wilhelm Fučík (1872– 1916)
Orchestral Works.
See back cover for details.
David Hubbard bassoon.
Royal Scottish National Orchestra, Neeme Järvi.
Recording venue, Royal Concert Hall, Glasgow; 16 and 17 February 2015.

Played this morning, and I have to admit I am a great admirer of Fucik's music, especially in such good performances with Järvi at the helm. What a pleasure to hear such quality music. He was a great orchestrator. SOTA sound.