What are you listening 2 now?

[Dry Brett Kavanaugh]

Bloch: Voice In the Wilderness · János Starker · Israel Philharmonic Orchestra · Zubin Mehta.

[Dry Brett Kavanaugh]

Sounds rather nice! Reminds me of Charlie Bird Parker a little.

[Dry Brett Kavanaugh]

De Falla. Tres Picos.

[Symphonic Addict]

Mozart: Divertimento for string trio
Reger: Piano Trio, op. 102

This time the Mozart didn't hit me as much on previous occasions, but I still regard it as a masterful piece. The Reger, on the other hand, was a most compelling listen. There's something subdued and somber about it that caught my attention with real interest.

[Que]

[André]

Question : is there a thread devoted to Debussy's string quartet ?

I looked but didn't find any 🤨

[Linz]

Anton Bruckner Symphony No. 8 in C Minor, 1887/90 Mixed Versions. Ed. Robert Haas
Munchner Philharmoniker, Günter Wand

[Daverz]

Mozart: Divertimento for string trio
Reger: Piano Trio, op. 102

This time the Mozart didn't hit me as much on previous occasions, but I still regard it as a masterful piece.

I had the same reaction to this recording.  It didn't grab my attention the way the old Stern/Zukerman/Rose recording did.  Though maybe I just wasn't in a receptive mood.

De Falla. Tres Picos.

Getting aboard the Frühbeck train:



From the Australian Eloquence Frühbeck box.

[Symphonic Addict]

Lambert continues delivering the goods. I especially enjoyed The Rio Grande with its invigorating originality.

[Symphonic Addict]

I had the same reaction to this recording.  It didn't grab my attention the way the old Stern/Zukerman/Rose recording did.  Though maybe I just wasn't in a receptive mood.

I think that both the recording and my mood at the moment influenced my reaction.

[Dry Brett Kavanaugh]

I had the same reaction to this recording.  It didn't grab my attention the way the old Stern/Zukerman/Rose recording did.  Though maybe I just wasn't in a receptive mood.

Getting aboard the Frühbeck train:



From the Australian Eloquence Frühbeck box.

That's a great recording! You have the box set? I'm waiting for the price to come down a little.

[kyjo]

I've gone too long without listening to some Bax, my second-favorite composer. I'll start with a work, In Memoriam,  that just overwhelms me, so emotionally-charged is it, and I sure wish it had the acceptance, the popular status, say, of a tear-inducing Rachmaninoff piece.  Wishes and fishes.  Extensive background to this compelling work here:  https://www.arnoldbax.com/the-background-to-in-memoriam/

Totally agree with you about In Memoriam! A stunningly beautiful, heartfelt piece with an unforgettable main theme. I won't deny that it often brings me to tears whenever I hear it! I love many pieces by Bax, but In Memoriam affects me more deeply than pretty much anything else he wrote.

P.S. I'm referring to the tone poem with this title - he wrote a chamber work of the same name which is also very fine.

[Cato]

Bulgarian composer Dimitar Nenov: Rhapsodic Fantasy from 1938-1940.

The opening is rather dark, moody, even bleak (check the years of composition), but the ending will remind you (somewhat) of Rimsky-Korsakov!

Also:

Franz Schreker: Prelude to a Drama

...and...


Tchaikovsky: The Tempest

[André]

This performance of Ysaÿe's 6 sonatas is quite different from any other I've heard. Stobbe is the concertmaster of the Winnipeg Symphony Orchestra and a violin builder and restorer. His approach to the works is analytic rather than virtuosic.

He clearly sees it his task to elucidate the structure of the sonatas. In the multi-movement works (nos 1, 2 and 4) the pause between movements is longer than usual, as if he wanted the listener to appreciate the complexities of the music (it works). Since he is also the record producer and booklet notes writer I assume this is part of his concept. Stobbe is as much a music thinker as a performer.

Time and again I noticed how organic his performances were. His way with the sonatas is not showy, rhapsodic or intuitive. Lest that sound dry or academic, I should add that he quickly drew me into his journey with the music. Ysaÿe's sonatas are unlike any other solo violin works in the repertoire. In it are distilled the structural complexities of Bach's partitas and Paganini's unique palette of colours and impossibly difficult pyrotechnics. I am endlessly fascinated by them and listen to as many versions as I can. They present a mix of amazing coloristic gestures and intellectually challenging originality.

I repeated a few of the sonatas to appreciate the originality of his approach. Needless to say the violinistic difficulties are met head on. His tone is not sweet (Ehnes) but big, 'fleshy', with a very pure intonation.

[André]

Hoddinott's music invariably intrigues and satisfies. He never attempts to 'be original', but there's no denying his is a very singular voice. Excellent performances by top rate soloists. All the recordings are in excellent sound.

[Mister Sharpe]

Totally agree with you about In Memoriam! A stunningly beautiful, heartfelt piece with an unforgettable main theme. I won't deny that it often brings me to tears whenever I hear it! I love many pieces by Bax, but In Memoriam affects me more deeply than pretty much anything else he wrote.

P.S. I'm referring to the tone poem with this title - he wrote a chamber work of the same name which is also very fine.

Thanks, kyjo, grateful to ya'.  It's enough for me to know that someone feels that work as strongly as I do!! And to think that In Memoriam had to wait until 1998 for its first public performance!   

[JBS]

The Greek word Παραλειπόμενον (Paraleipómenon) translates to "Paralipomenon" in English. It derives from the Greek verb παραλείπω (paraleípō), meaning "to omit" or "to leave aside" and is often used in the plural, Παραλειπόμενα (Paraleipómena), meaning "things omitted" or "things left out". In literature or scholarship, Paralipomena refers to supplementary or additional material omitted from a main work, such as appendices, addenda, or complementary writings.

The Paralipomènes à la Divina Commedia is the very first version of Liszt's Après une lecture du Dante: Fantasia quasi Sonata (the Dante Sonata) - the term Paralipomènes (French plural of Paralipomenon) denotes "things left out", an appendix, a supplemental or complementary piece to Dante's Divina Commedia.

Παραλειπόμενον/α may be a philological term in English and French but it is also an everyday word in Greek - it's the present passive participle of the verb παραλείπω (to omit, to leave aside, to pass over); its noun, omission, is παράλειψις (paraleipsis).

It is thus related to the word ellipsis

Latin, from Greek elleipsis ellipsis, ellipse, from elleipein to leave out, fall short, from en in + leipein to leave

That's from Merriam Webster, which says its first known use was in 1540.  Oddly, the first use of the geometrical term ellipse in English was not until 1743.

[Symphonic Addict]

Widor's chamber music has succeeded my expectations so far. Two more outstanding works, above all the Piano Quintet No. 1 (there's a late second one).

[Symphonic Addict]

Orbón: String Quartet

Wow! I've heard other pieces by this Spanish-Cuban composer before, but this succinct and succulent quartet has proven to be really outstanding. One never stops discovering amazing music.

[AnotherSpin]

Brought up animals in another thread and, quite out of nowhere, lines from Walt Whitman turned up:

I think I could turn and live awhile with the animals.... they are so placid and self-contained,
I stand and look at them sometimes half the day long.
 
They do not sweat and whine about their condition,
They do not lie awake in the dark and weep for their sins,
They do not make me sick discussing their duty to God,
Not one is dissatisfied.... not one is demented with the mania of owning things,
Not one kneels to another nor to his kind that lived thousands of years ago,
Not one is respectable or industrious over the whole earth.

Isn't it striking? The way Whitman contrasts the restless turmoil of the human mind with the quiet, thoughtless presence of animals, their freedom from conceptual thinking, their lack of inner narrative. Qualities that resonate with what Zen calls 'no-mind'.

Started the morning with the second book of Trabaci's compositions, played by Sergio Vartolo. There's something oddly appealing in his slowed-down, stumbling style that suits a listener who hasn't quite woken up yet.