What are you listening 2 now?

Started by Gurn Blanston, September 23, 2019, 05:45:22 AM

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vandermolen

Ernest Bloch: Israel Symphony
Abravanel's Utah SO recording nicely remastered by Alto:
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

AnotherSpin


Karl Henning

Hat tip to @Christo 
Quite Ivesian.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

pjme


Meulemans: Adagio for strings 

Spotted Horses

Weinberg, String Quartet No 9



This quartet had its moments, particularly in the first and third movements. But too much lotto voce music for my taste.
Formerly Scarpia (Scarps), Baron Scarpia, Ghost of Baron Scarpia, Varner, Ratliff, Parsifal, perhaps others.

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Der lächelnde Schatten

Quote from: Karl Henning on May 22, 2025, 07:55:52 AM@Cato & @Der lächelnde Schatten



Cool piece, Karl! I've got the Botstein recording:



I've have to revisit it.

Karl Henning

Quote from: Der lächelnde Schatten on May 22, 2025, 08:08:37 AMCool piece, Karl! I've got the Botstein recording:



I've have to revisit it.
I've that disc, as well.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Der lächelnde Schatten

Now playing Sibelius Symphony No. 5 in E-flat, Op. 82


Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Der lächelnde Schatten

Now playing Koechlin Viola Sonata, Op. 53


AnotherSpin


Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Que


Linz

Anton Bruckner Symphony No. 8 in C Minor, 1890 Version. Ed. Leopold Nowak
Münchner Philharmoniker, Valery Gergiev

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

kyjo

#129919
Lately, I've been listening to a random assortment of pieces that depict spring to accompany me on my daily walks, most of them rather brief tone poems:

Bax: Morning Song "Maytime in Sussex" for piano and orchestra (7') (A. Wass/Bournemouth SO/J. Judd on Naxos). Bax at his most tuneful, sunny, and carefree - sheer delight!

Raff: Ode au printemps for piano and orchestra, Op. 76 (16') (T. Nguyen/Prague RSO/K. Stratton on Grand Piano). A typically Raffian outpouring of melody and forward motion.

Glazunov: Spring, Op. 34 (9') (RSNO/N. Jarvi on Chandos). It's very pleasant but not terribly memorable. Glazunov on auto-pilot.

Zygmunt Stojowski: Le printemps for chorus and orchestra, Op. 7 (8') (Polish forces with very complicated names on Dux). Optimistic and energetic stuff - a very nice discovery!

Gabriel Dupont: Journee de Printemps for violin and piano (10') (Pavel Hula/Marie-Catherine Girod on Mirare). A fine work in a style halfway between the Franck/Chausson school and impressionism.

Delius: Idylle de printemps (10') (RSNO/A. Davis on Chandos). This is prime early Delius in its uncomplicated melodic generosity. Should appeal to fans of the Florida Suite, etc.

Leopold van der Pals (1884-1966): Frühling, Op. 14/1 (10') (Helsingborg SO/J. Goritzki on CPO). An absolutely ravishing discovery from this prolific and almost totally unknown Danish-Dutch composer. The main theme bears some resemblance to the Lever du jour from a certain ballet by Ravel, but it's none the worse for that. I look forward to hearing more by this guy!

Roy Harris: Kentucky Spring (11') (Louisville Orchestra/J. Mester on First Edition). The only recording of this work, and the sound quality is not great. But I still enjoyed this quintessentially American, folksy creation.

Wellesz: Vorfrühling, Op. 12 (8') (Detusche SO Berlin/R. Epple on Capriccio). An early work of his, resembling early Schoenberg in its ultra-late romantic, chromatic language. I thought that it got better as it progressed, eventually becoming more opulent towards the end.

Roussel: Pour une fête de printemps, Op. 22 (11') (BBC Phil/Yan Pascal Tortelier on Chandos). I'll simply quote from a YouTube commenter who describes this work so eloquently:
Roussel was definitely in search of a more distinctively individual voice after WW1. Fete De Printemps, written while at work on the 2nd Symphony, certainly points the way to his newly-found and different form of self-expression. In spite of its deceptively pastoral, idyllic title, the composition seems, to me, to combine anxiety with a vibrantly burgeoning sense of natural growth. But there's no real celebratory quality. If anything, it's possibly more existentialist, unemotional and distant. The ending, for instance, seems completely at odds with the subject matter. I find the piece fascinating, absorbing and, yes, possibly slightly challenging.......

There's plenty more fine spring-inspired pieces that I plan to listen to over the coming weeks...
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff