What are you listening 2 now?

[JBS]

Antidote to Wagner*



*I realized tonight I like Dutchman/Tannhauser/Lohengrin a lot less than I like the Ring/Tristan/Meistersinger/Parsifal.  Wagner's earlier musical language doesn't really work for me.

[AnotherSpin]

[steve ridgway]

Boulez - Sur Incises - Pour Trois Pianos, Trois Harpes, Trois Percussions-Claviers

[AnotherSpin]

One has to live on earth as if one is living in paradise; then one is capable of entering paradise. Those who are already in paradise will be able to enter paradise, nobody else.

-Osho

[steve ridgway]

One has to live on earth as if one is living in paradise; then one is capable of entering paradise. Those who are already in paradise will be able to enter paradise, nobody else.

-Osho

Hmm... that gives me some ideas about changing my mindset.

[steve ridgway]

Luc Ferrari - L'Escalier Des Aveugles

A dreamlike wander through a series of incomprehensible but absorbing soundscapes that catch my attention, giving me the feeling of meanings I can sense but not quite grasp.

[Que]

[Harry]

Barbara Strozzi.
Sacri Musicali Affetti.
Concerto Soave.
Maria Cristina Kiehr, Soprano.

This is a beautiful recording from 1995, detailed in a warm acoustic with just enough air around voice and instrument which brings it close to a SOTA sound. Not a harsh tone by Kiehr, she is as sweet as a raindrop in Spring. BC is a matching item. The Sacri Musicali Affetti is for me the epitome of vocal beauty with a richness of expression that takes my breath away.

[AnotherSpin]

[Harry]

GEORGY CATOIRE
Revived Masterpieces
Catoire Ensemble.

Georgi Lvovich Catoire (also known as Katuar in German) did not have a particularly high opinion of his own First String Quartet, which is why he destroyed it - only the Andante was spared. Tchaikovsky had written a few words on the last manuscript page of this movement, and Catoire did not have the heart to destroy the great composer's autograph. Catoire composed a new quartet, which is listed in his catalog of works as Opus 4. This piece, like the Andante of the discarded quartet, was never published and the manuscript does not appear to have survived. However, it is known that Catoire reworked the quartet into a quintet after some time and added a second cello part. The manuscript of this quintet was discovered together with the Andante a few years ago, and this recording of the two works is the first of these early works by Catoire. Catoire wrote the Piano Trio Op. 14 between 1899 and 1902. Stylistically, the trio lies exactly on Catoire's compositional path, which in this work consciously influences already existing Russian chamber music literature. But although the trio is so wonderfully anchored in its time by these parallels, it also clearly shows the characteristic traits that keep Catoire's music apart from contemporary trends and make his personality a special phenomenon in Russian music. There is, for example, the symbiosis of different musical traditions: on the one hand there is his Russian-French ancestry, on the other his German training and his profound knowledge of Richard Wagner's music. Catoire, and thus also his style, is a transnational example of Europe. Other important traits of Catoire's music are sincerity and the absence of any banality or posturing.
Enthusiastic and passionate performances, no rest for the wicked..an honest and closely miked  recording. this approach fits the bill though.

[Que]

The grands motets from the French Baroque are an old love, so I couldn't resist to pick this:



Charles-Hubert Gervais was a sous-maître at the court of Louis XIV, employed by the king's brother, the duke of Orléans. This is my first encounter with his music, and definitely worthwhile IMO.

https://earlymusicreview.com/gervais-grands-motets-2/

https://www.musica-dei-donum.org/cd_reviews/Glossa_GCD924013_ChateauDe%20VersaillesSpectacles_CVS073.html

[Madiel]

Vivaldi

Chamber concerto in F, Tempesta di mare (RV 98)
Lungi dal vago volto (RV 680)



The cantata is an unfortunate misfire. Despite the liner notes claiming that it's a cantata for alto**, in the Ryom catalogue it is listed as being for soprano. Laura Polverelli is described as a mezzosoprano, but it's immediately clear that the vocal line sits high in her voice and the whole thing comes across as uncomfortable. She's just the wrong singer for this.

The first one on this disc was an 'alto' cantata and suited her better. Looking at the catalogue numbers of the ones I've yet heard, it's literally going to be a 50/50 split.

**In fact the longer essay in the liner notes is highly misleading. They correctly state that there are 4 cantatas for alto and ensemble, and give the impression that all 3 of the cantatas on this album fall in that category when only 1 of them does. The deception seems quite deliberate from the choice of wording.

[Madiel]

Medtner: Three Dithyrambs, op.10

[Karl Henning]

Bach - Mass in B minor BWV 232
Van Veldhoven | Netherlands Bach Society

I love the Netherlands Bach Society's All of Bach project.  So many wonderful performances, done in period instrument/practice performances. This B Minor Mass offers insights to the work to me after hearing dozens of of other recordings. 

My first experience of the work was in 1970 at music school.  A few of us had discovered the Harnoncourt Concentus Musicus recording, and fell in love with it.  Later a local choir director/organist mounted a live performance of the work. I have remained a PI/HIP advocate ever since.

The work has also remained among my favorites and I regularly listen to new recordings.  This is one of the best I've heard.

Nice!

[Karl Henning]

Ligeti - Lontano

A work I find particularly absorbing.

A beauty!

[Karl Henning]

Hector Berlioz - Requiem
Michael Schade, Tenor
Toronto Mendelssohn Choir
Toronto Mendelssohn Youth Choir
Elora Festival Orchestra
Noel Edison
Naxos 8.554494-95

Love this piece!

[Madiel]

Deux mélodies hébraïques, arranged by Ravel



The Kaddisch is mesmerising.

[Traverso]

Sweelinck

First book of Psalms

CD 1



On Monday, September 30, 2013, a unique nameplate dedicated to Jan Pieterszoon Sweelinck was unveiled at Koestraat 13 in Amsterdam. This famous composer and organist of the Oude Kerk (Old Church) lived and composed at Koestraat 15 for many years (1590-1621). Stadsherstel Amsterdam (Amsterdam City Restoration) owns the adjacent restored building (Koestraat 13) where the nameplate is located. The nameplate, which features the famous portrait by Joan Muller from 1624, depicts J.P. Sweelinck pointing to his home at Koestraat 15.

The Friends of Stadsherstel Association initiated the installation of this nameplate. The unveiling was performed by Harry van der Kamp, leader of the Gesualdo Consort, together with the Friends of Stadsherstel. The Gesualdo Consort has erected a 'Sweelinck Monument' with their CD recording of Sweelinck's complete vocal works.

[Karl Henning]

Yesterday morning we drove to Detroit to hear the Detroit Symphony at a morning concert.

Mrs. Cato thought, at first, given the morning start (10:45) that it might be a Kinderkonzert with school kids attending, but I found that dubious, given that it contained Schoenberg's Verklärte Nacht and the Brahms First Piano Concerto.

So, no, it was not a concert for the school kids: there were buses outside, however, from old-age homes! 

In all the time we lived in Toledo (only 50 miles away), we never could afford to go to a Detroit Symphony concert, when Neemi Järvi was there.  It just was too much.


So, the opening work was Mozart's Magic Flute Overture (nicely done) and then the string section (not all the members, for some reason) played Schoenberg's Verklärte Nacht.  The conductor for the concert was Tabita Berglund from Norway: a very good performance and the audience gave a standing ovation for them at the conclusion of the piece.  I might have done things a little differently here and there, and why did the whole string section not participate?  But those are minor quibbles: the drama and the anguish and the salvific transfiguration were there!  Lady Berglund conducted like Leopold Stokowski: no baton!  🙂

Then came the Brahms Piano Concerto #1, not a favorite work, but again, nicely and even powerfully played with Kirill Gerstein as the soloist.

There was applause after the first movement, and Mrs. Cato asked immediately, "Is it over?", a signal that certain longueurs were involved in her reaction to the piece.  With regret, I said that there were still two more movements, which, however, would be shorter than the first.

Certainly the audience was enthusiastic at the end, and gave a standing ovation.  (Of course, in modern-day America, everyone eventually gets a standing ovation out of egalitarian politeness.  😇  )

Mrs. Cato commented, however: "I think I would have liked it better with just the orchestra, as a three movement symphony or something.  It just seemed like there was a lot of banging on the piano, and it didn't fit with the orchestra."  😇

I suppose, the original Opus 4 being a sextet, the conductor wanted a lighter footprint than the orchestra's full string choir. Yes, I think no baton a good choice for the Schoenberg, particularly. (I guess, never using a baton myself, I would say so.)

[Karl Henning]

Stravinsky: Apollo



Currently confirming I find this a more engaging listen than Pulcinella.

That's fair. Pulcinella has its charms, but is slight. Classical Radio playing it to death (as "safe Stravinsky") does it no favors, either.