What are you listening 2 now?

[Madiel]

Again. And this time I listened to it at a time when I could pay reasonable attention throughout. Which is good because to my mind, Shostakovich is one of the very best composers at endings.

[Que]

Missa beati anthonii viennensis (abbatis), an anonymous mass from the Trent cathedral manuscript that is attributed to Guillaume Dufay. The Binchois Consort deserves praise for recording this mass which is, whether it is by Dufay or not, musically significant and impressive.

[Madiel]

Listening to music nowadays is of course an abstraction where lots of compromises have to be done, concerning home listening maybe the most.

For instance I don't wear a wig when I am listening to Baroque music, and my HIFI system and my rather modern apartment are as anachronistic as it gets.

But I am thankful for the fact that I to day can listen to music in the way I want, instead of having to accept the most often unserviceable circumstances in earlier ages.

Yes, well, you might also be thankful that you can stuff yourself with fast food rather than having to farm. Doesn't mean either of them is the best possible option.

As I said, our culture seems to be almost scared of endings. Watch an episode of a TV show and most services will immediately try to get you to watch another one. Never mind the work the writers might have done to craft where the episode ended. And it's much the same with music, with endless playlists being what some services push. I'm actually very grateful to Idagio for making it so easy for me to listen to a work, the unit of music that the composer actually planned.

[Que]

Harpsichord music from the Italian Renaissance:



Derserved high praise by Johan van Veen:

http://www.musica-dei-donum.org/cd_reviews/Christophorus_CHR77307.html

[Que]

     

[Mandryka]

Tôn-Thât Tiêt, Les Sourires de Bouddha -- maybe you'll like this @AnotherSpin @Traverso

[Harry]

MUSIC AT THE FARNESE COURT IN RENAISSANCE PARMA.

See for details back cover.
Ratas del viejo Mundo.
Recording Jezuïetenkerk (Lier, Belgium) | 3–5 July 2022.
Cover Alessandro Farnese's parade armour by Lucio Piccinino (1578–1579).

Discovering the richness of the musical heritage of Parma is a real treat. Parma became a leading musical center at the latest in the 16th century under the Farnese. At the court of the Farnese, Flemish musicians such as Cipriano de Rore or Josquin Persoens achieved great fame and significantly influenced the development of instrumental music as well as the madrigal. This recording is a fine example of bringing this music to sparkle, and display the richness of this heritage.  The soloists are exceptionally good, from Soprano to Mezzo, no undue vibrato or legato, very clean singing indeed.  Also mention must be made of the instrumentalist, they are really good too. The only disappointing conclusion is the playing time at 49:00 minutes. Well worth the time and attention. Good sound too.

[prémont]

Yes, well, you might also be thankful that you can stuff yourself with fast food rather than having to farm. Doesn't mean either of them is the best possible option.

As I said, our culture seems to be almost scared of endings. Watch an episode of a TV show and most services will immediately try to get you to watch another one. Never mind the work the writers might have done to craft where the episode ended. And it's much the same with music, with endless playlists being what some services push. I'm actually very grateful to Idagio for making it so easy for me to listen to a work, the unit of music that the composer actually planned.

The things you describe don't particularly relate to me. I never eat fast food, and I don't waste my time on stupid TV shows. In general, I try to avoid the unfortunate trends in our current culture to the extent that I have the opportunity to choose. And fortunately, we often still have some choices left.

[Que]

Symphonies nos. 28, 29 & 30.

[Que]

MUSIC AT THE FARNESE COURT IN RENAISSANCE PARMA.

Ratas del viejo Mundo.

I much enjoyed that one! 

PS That parade armor of Alessandro Farnese, Duke of Parma and Piacenza (1545-1592), does what it was intended for: impress...

https://www.tumblr.com/george-steel-armours/648883092244905984/parade-armor-of-alessandro-farnese-duke-of-parma

[Harry]

Affetti Napoletani - 18th Century Neapolitan Music.
See for details of works and recording dates back cover.
Estrovagante Ensemble.


A very welcome release, for it features composers who are not that often recorded, and on top of that wrote really interesting music. As to the performance no complains, but a little bit more fire would not go amiss. The clean and clear expression is complementary to my enjoyment, every nuance sits comfortably throughout all the music on the foreground, delineating a excellent recording. Would love more of this ensemble.

[Traverso]

Tôn-Thât Tiêt, Les Sourires de Bouddha -- maybe you'll like this @AnotherSpin @Traverso

Thank you, I will listen to it....

[Madiel]

The things you describe don't particularly relate to me.

The thing I'm trying to describe is that pieces of music are units of work, and that the composer of a work in the 18th or 19th century, or even much of the 20th, is unlikely to have known that 3 or 4 such works would fit on a thing called a compact disc. Or that listeners would gobble up all those works at once just because they'd been delivered on a disc together.

But as you repeatedly ignore that bit, I shall move on.

One can appreciate the wonderful technology that delivers music to our homes and yet still pay attention to the form of the music as originally intended. Because as far as I'm concerned, form matters. The chosen size and scale matters. I care whether the composer envisioned a work lasting 15 minutes or one lasting 150, far more than I care about the carrying capacity of a CD. That was the sum total of the original point that was made.

[prémont]

The thing I'm trying to describe is that pieces of music are units of work, and that the composer of a work in the 18th or 19th century, or even much of the 20th, is unlikely to have known that 3 or 4 such works would fit on a thing called a compact disc. Or that listeners would gobble up all those works at once just because they'd been delivered on a disc together.

But as you repeatedly ignore that bit, I shall move on.

One can appreciate the wonderful technology that delivers music to our homes and yet still pay attention to the form of the music as originally intended. Because as far as I'm concerned, form matters. The chosen size and scale matters. That was the sum total of the original point that was made.

Of course you're right in your point, but it's not really relevant to me today.

[Traverso]

Bach

Vol.4 CD 1





For all movie lovers and law abiding citizens! Alcatraz will be renovated and expanded.
The FBI has been ordered to do so, while it is not their responsibility.
Finally a president who is close to the people and in whom many can identify themselves.

[Florestan]

The thing I'm trying to describe is that pieces of music are units of work, and that the composer of a work is unlikely to have known that 3 or 4 such works would fit on a compact disc.

(@prémont )

Indeed. Let's take Vivaldi's concertos, for instance. One CD can easily contain any six of them. Now, listening to all six in a row can surely have the effect of monotony and sameness and give the vivid impression of being the same concerto written six times over. Only problem is, Vivaldi never intended them to be played or listened to in such uninterrupted, extended sequence. Moreover, they were written for, and played and heard in, specific conditions which were part and parcel of the audience's experience and which gave them a moving and exhilarating effect, as attested by all written testimonies. Their magic worked perfectly in the environment for which they were originally conceived but is all but lost in modern environments (concert halls of home listening). I'm positively sure that in this particular case the circumstances back then were far more suitable for a uniquely satisfactory musical experience than the modern ones.

[Madiel]

Mozart: Symphony no.38. For Prague.

[Harry]

Violin Sonatas.

Achille-Claude Debussy/ Maurice Ravel/ César Franck.
See back cover for details.
Jennifer Pike, Violin.
Martin Roscoe, Piano.
Recording venue: Britten Studio, Hoffmann Building, Snape Maltings, Suffolk; 2010.

To start with, it amazed me deeply what a talented violinist Jennifer Pike is. Her playing is as sweet as it is beautiful. Her handling of the bow, reminded me of Lydia Mordkovitch, which is in my book a huge compliment. An added bonus is that she is fluent in expressing the music flawlessly, a perfectionists take rather. A concentrated bowl of gorgeousness. In fact I am stunned by her playing.
Martin Roscoe a legend in his own right, is a perfect partner for her, a symbiosis almost. Never heard these works more clearly and insightful played as on this SOTA recording from Chandos. I take my hat off and bow!

[AnotherSpin]

[Traverso]

Debussy

Berceuse héroïque
Images
Jeux
Marche écossaise sur un thème populaire