What are you listening 2 now?

[hopefullytrusting]

John Luther Adams's Become Trilogy

Become River: https://www.youtube.com/watch?v=dfTPF6IwtRk
Become Ocean: https://www.youtube.com/watch?v=dGva1NVWRXk
Become Desert: https://www.youtube.com/watch?v=1VN9TBfWAEo

[Karl Henning]

[Que]

I acctually wrote down my impressions on that one!.   See link below if interested...

https://www.good-music-guide.com/community/index.php/topic,29166.msg1605193/topicseen.html#msg1605193

[Linz]

Florent Schmitt Psaume XLVII, Op. 38
La tragédie de Salomé, Op. 50
Andrea Glot soprano, Gaston Litaize organ, Choeurs and Orchestre National de L'ORTF, Maitrise and orchester de L'ORTF, Jean Martinon

[Lisztianwagner]

Georg Philipp Telemann
Nouveaux quatuors "Paris Quartets"

Frans Brüggen (flute), Jaap Schröder (violin), Anner Bylsma (cello), Gustav Leonhardt (harpsichord)

[Spotted Horses]

Back to Hindemith Cello Sonatas, Op 11, No 3 and the 1948 Sonata, this time with Wendy Warner and Eileen Buck.



Warner's singing tone and Eileen's sensitive playing bring out the lyricism in the music beautifully. I continue to find the earlier sonata more compelling, although the middle movement of the 1948 Sonata is a highlight.

[Karl Henning]

[Linz]

Anton Bruckner Symphony No. 5 in B Flat Major, 1878 Version Ed. Robert Haas
Rundfunk-Sinfonie Orchester Leipzig, Hermann Abendroth

[Linz]

Dimitri Shostakovitch Symphony No. 13 in B flat minor, Op. 113 'Babi Yar'
Mikhail Petrenko (bass), Estnischer Nationaler Männerchor (RAM), Dresdner Philharmonie, Michael Sanderling

[Karl Henning]

Back to Hindemith Cello Sonatas, Op 11, No 3 and the 1948 Sonata, this time with Wendy Warner and Eileen Buck.



Warner's singing tone and Eileen's sensitive playing bring out the lyricism in the music beautifully. I continue to find the earlier sonata more compelling, although the middle movement of the 1948 Sonata is a highlight.

not one of the pieces you've mentioned, but I found this, prompted by your post:

[Mandryka]

Okay, I did investigate and here's what I found.

George Coulton himself gives no source for that quote. He simply says "the character which the feast had assumed may be judged from the formal letter of the University of Paris to the King of France" and then proceeds to quote. When was the letter written, who where the signatories, what King of France was it addressed to, and most important, where can it be read in its entirety? Nobody but Coulton knows. By contemporary academic standards this is unacceptable.

Be it as it may, it's clear from the context of that paragraph that both Coulton and the letter refer to the Feast of Fools (https://en.wikipedia.org/wiki/Feast_of_Fools). Now, that occurred at a precise time of the year and for a very limited duration. To extrapolate the behavior of the (lesser) clergy during that episode to the whole liturgical year and assume or imagine that what happened then was regular behavior for all masses and any and all other divine services at any given time during the year is a big stretch, warranted by nothing.

Thanks for doing that work.

I've got nothing to add yet --  except to say that the abstract to this article looks interesting, but those no obvious way of getting access to the article itself, without paying a lot of money.

https://academic.oup.com/jaar/article-abstract/90/4/860/7193024?redirectedFrom=fulltext

Anyway, best to leave it in a way. I don't want to become a dilettante pontificating internet medievalist -- a sort of secular latter day Edward Casaubon.

[Spotted Horses]

not one of the pieces you've mentioned, but I found this, prompted by your post:

Interesting work. I listened to the Emert and Wispelwey recordings last year as part of my Hindemith Sonata survey. Due for a revisit.

[Todd]

[Karl Henning]

Now listening to the 1948 Sonata

[Karl Henning]

Now the Op. 11 No. 3

[Linz]

Anton Bruckner Symphony No. 4 in E Flat Major, 1878/80 Version (1880 with Bruckner's 1886 revisions) - Ed. Leopold Nowak
Staatskapelle Dresden, Eugen Jochum

[SimonNZ]

Woke up to the Kyrie from Faure's Requiem on the radio, turned it up and listened to the whole work, thinking that this is the best recording I've heard since Herreweghe.

Until the announcer tells me it was Herreweghe.

[brewski]

Right now, hearing Mendelssohn's String Quartet No. 6 for the first time, thanks to Quartett HANA at the Banff Competition. Quite the piece, and like much of the composer's chamber music, I am delighted to finally hear it.

[Symphonic Addict]

His Violin Concerto No. 2 (also on Naxos) was written for our local orchestra and its concertmaster. I got to interview Leshnoff before the premiere and he is the kindest, friendliest man. He is very sincere, as you would expect from his music, but he was also rather funny. He does not listen to any music while in the process of composing a work. Meaning, he does not go to the grocery store because they play music inside, he does not get in cars with friends who use the radio, he does not go to restaurants, he does not watch TV because it has music...he doesn't listen to anything while composing! He is now so busy that he told me often, he only gets to listen to other music while attending the premiere performances of his works. Back in 2017-19, almost all his orchestral commissions were 20-25 minute concertos programmed before Beethoven's Ninth, so the only other music he heard for years was Beethoven's Ninth. I asked if he was intimidated, to always share programs with Beethoven. He said he was used to it!

Very interesting! That's a composer who takes the art of music quite seriously. He deserves utmost respect and admiration for that.

[Symphonic Addict]

Right now, hearing Mendelssohn's String Quartet No. 6 for the first time, thanks to Quartett HANA at the Banff Competition. Quite the piece, and like much of the composer's chamber music, I am delighted to finally hear it.

A first listen ever? Wow, you had been missing a masterpiece of the first order all this time, but glad you remedied that.