What are you listening 2 now?

[Der lächelnde Schatten]

Now playing Enescu Chamber Symphony, Op. 33

[Roasted Swan]

Oh of course, the Stokowski! And might not have been aware of the Gould. Thanks for the memory jog.

The Gould is very good - a premiere recording too I think....?

[Roasted Swan]

Oh of course, the Stokowski! And might not have been aware of the Gould. Thanks for the memory jog.

I just checked - Harold Farberman's cycle of the symphonies on Vox was late 60's too....

[DavidW]

[SonicMan46]

Boccherini, Luigi (1743-1805) - Guitar Quintets - 9 below in the Yves Gérard catalog (No. 8 lost) - own the two collections below, i.e. the Brilliant 3-CD set boxed w/ Zoltan Tokos & the Danubius Quartet playing the extant 8 guitar works and adding a String Quintet (G. 275) to fill-out the third disc.  And Jakob Lindberg plus the Drottningholm Baroque Ensemble on period instruments performing the first 6 works on 2 CDs - Lindberg plays a six-course guitar by Juan Pages, Cadiz 1810.  Dave

Guitar Quintets

G 445: Guitar Quintet No. 1 in D minor
G 446: Guitar Quintet No. 2 in E major
G 447: Guitar Quintet No. 3 in B-flat major
G 448: Guitar Quintet No. 4 in D major ("Fandango")
G 449: Guitar Quintet No. 5 in D major
G 450: Guitar Quintet No. 6 in G major
G 451: Guitar Quintet No. 7 in E minor
G 452: Guitar Quintet No. 8 in F major (lost)
G 453: Guitar Quintet No. 9 in C major ("La Ritirata di Madrid")

Note: The movements of the guitar quintets are wholly transcribed by the composer from earlier quintets (usually string or piano quintets). (Source)

   

[Traverso]

Albinoni

CD 2

[Florestan]

I'll let you know when I get to it.  To be honest I'm tending to do the Mozart chronology faster than most, especially now that I'm in the Vienna period.

I must confess that there's an extramusical reason behind my liking KV 612 that much, and it's related precisely to Thomas Quasthoff.

A few years ago I had absolutely no idea whatsoever about his handicap, although I knew he was a famous bass-baritone and I had heard him singing. One day, I turned the TV to Mezzo and, lo and behold!, they announced next on Mezzo, Mozart's KV 612 with Quasthoff. And that was the first time I both saw Thomas Quasthoff in flesh and blood and heard KV 612. I was taken aback and saddened to the point of shedding some tears, but at the same time it was exhilarating to see the indomitable power of the human spirit to transcend and soar above severe physical limitations. Add the sublime music and that was it.

Here it is, that Mezzo clip:

https://www.youtube.com/watch?v=j-NCHwVq7C8

[Lisztianwagner]

Louis Couperin
Suites for Harpsichord

Gustav Leonhardt (harpsichord)

[Que]

I daresay I may have rather overdone it with organ versions of late, or perhaps there's another reason, but I do find Mr. Power Biggs's take on the pedal harpsichord a bit hard to warm to. Still, I've no intention of giving up just yet.

I'd just give up - nothing there...

[Karl Henning]

A first listen
Malcolm Arnold
Concerto for Clarinet and Strings, Op. 20

[AnotherSpin]

I'd just give up - nothing there...

If only! Nothing is too much

[André]

It's a bit laboured IMO. Try this instead:

https://www.baroquemusic.org/759Web.html

Not convinced, although there are felicities to be heard. Tempi are moderate, which may aid clarity. Granted, on the organ the bass voice can be obscured, which is not the case with the harpsichord, but I prefer to be carried along by the melody and its transformations. My benchmark for the sonatas is Michel Chapuis' joyous, luminous interpretation. Most organists choose moderate tempi in the sonatas. Not Chapuis.

Sonata 2, 1st mov.

[Karl Henning]

Another first listen
Malcolm Arnold
Fantasy for Brass Band, Op. 114

Not a first listen (played a band transcr. in High School)
Four Scottish Dances, Op. 59

[Linz]

Pyotr Il'yich Tchaikovsky  Symphony No. 5 in E Minor, Op. 64
Evgeny Svetlanov, USSR State Symphony Orchestra

[VonStupp]

Hugo Alfvén
Symphony 4 in C minor, op. 39
Symphony 5 in A minor, op. 54
Legend of the Skerries, op. 20
King Gustav II Adolf: Elegy, op. 49

Christina Högman, soprano
Claes-Håkan Ahnsjö, tenor
Royal Stockholm PO - Neeme Järvi

Non-lexical singing pervades Alfvén's Fourth, plus an abundance of color in his final symphony. The late-Romantic, Strauss-ian style is not my favorite, but there are many moments of enjoyment regardless.

I forgot how much I enjoy the heartfelt orchestral miniature from Gustavus Adolphus.

VS

[prémont]

Not convinced, although there are felicities to be heard. Tempi are moderate, which may aid clarity. Granted, on the organ the bass voice can be obscured, which is not the case with the harpsichord, but I prefer to be carried along by the melody and its transformations. My benchmark for the sonatas is Michel Chapuis' joyous, luminous interpretation. Most organists choose moderate tempi in the sonatas. Not Chapuis.

Sonata 2, 1st mov.

I unambiguously prefer these trio sonatas played on the organ. It is just that I thought the recording by the unknown Lorenz Mikulas is far better than the recording by Power Biggs.

[Karl Henning]

Hugo Alfvén
Symphony 4 in C minor, op. 39
Symphony 5 in A minor, op. 54
Legend of the Skerries, op. 20
King Gustav II Adolf: Elegy, op. 49

Christina Högman, soprano
Claes-Håkan Ahnsjö, tenor
Royal Stockholm PO - Neeme Järvi

Non-lexical singing pervades Alfvén's Fourth, plus an abundance of color in his final symphony. The late-Romantic, Strauss-ian style is not my favorite, but there are many moments of enjoyment regardless.

I forgot how much I enjoy the heartfelt orchestral miniature from Gustavus Adolphus.

VS

Tangentially: Nice post!

[Linz]

Zdenek Fibich Symphony No. 3 in E minor Op. 53, Šarka - Overture, The Tempest -  Overture to Act III, The Bride of Messina -  Funeral March
Janacek Philharmonic Orchestra, Marek Stilec

[brewski]

I just checked - Harold Farberman's cycle of the symphonies on Vox was late 60's too....

Thanks for the Gould rec, as well as these, which I haven't heard, either. Always up for more Ives.

[VonStupp]

Tangentially: Nice post!

Thanks Karl! Britten's church parables have really opened my eyes to what he was doing with voice and chamber ensembles.
VS