What are you listening 2 now?

[prémont]

Today's listening - -

Gottfried Grünewald (1675-1739): 7 Partitas

Fernando de Luca, harpsichords

This is an outstanding release. An unknown pearl.

https://www.musica-dei-donum.org/cd_reviews/BrilliantClassics_97290.html

[Harry]

The Paris Album.
The Trio sonata in France before 1700.
Ensemble Diderot, Johannes Pramsohler.
Recording: Gustav-Mahler-Hall, Euregio Cultural Center Grand Hotel, Toblach 2018.


All these works were written after Lully's death, and this recording celebrates the newfound freedom at a time when composers were beginning to combine French style with transalpine fire. Several world premiere recordings which is always interesting and all is played by this ensemble with its usual precision, sprinkled with passion and energy. Good recording.

[Iota]

Chopin: Preludes
Mikhail Pletnev (piano)

This is perhaps a recording that should be issued with a health warning, and only somebody with the supernatural chops of Pletnev could possibly get away with it. Whether he does that or not I couldn't say, but I can say that anybody with feeling for Chopin's preludes is unlikely to have their pulse unaffected.
Full of travesties of Chopin's instructions, weirdness, wilful deconstructions, breathtaking shows of pianism and sensational beauties, every prelude's got something going on (or some shock to your system, depending on your pov). Washes of sensuality in the B major prelude, never-heard-before ghostly voices whispering in the Eb minor prelude (with Chopin's 'pesante' marking dispatched to the sidelines) and inner voices in the Ab prelude that seem to spill off the melody like ethereal sprinklings of pollen, all spring to mind. Sometimes melodies are consigned to a completely backstage role and the accompaniment placed centre stage with disorienting effect, his imagination and refusal of standard practice remain in overdrive throughout.
One thing that seems to remain consistent is the stripping of dynamic power in all the preludes, climaxes and passion come muted both in volume and character, expected balances of tone are turned upside down, which allows other qualities he seeks to emerge. The effect is often like hearing them in some surreal dream.
Though I'm sure many will find this recording completely perverse, I must say I was fascinated and often seduced by it, bowled over by the pianism and also the boldness to do it I guess, and ultimately I'm  glad he did.

[Madiel]

Though I'm sure many will find this recording completely perverse

If I'm remembering correctly, I lasted a couple of minutes.

[Iota]

If I'm remembering correctly, I lasted a couple of minutes.

Haha, an entirely understandable response, and I'm sure Pletnev must have known there'd be many more like you.

[Madiel]

Ravel songs - "Voice of angels" disc.

Chanson italienne
Noël des jouets
Chanson hébraïque
Deux mélodies hébraïques
Vocalise-étude en forme de habanera
Ballade de la reine morte d'aimer
Sainte
Un grand sommeil noir
Si morne!
Deux Épigrammes de Clément Marot
Ronsard à son âme
Rêves
Trois poèmes de Stéphane Mallarmé




This disc is a little shorter than the "Voice of men" disc, and I think the material is also a little weaker, though the performances are still strong. The sequencing is a bit more obviously clumped than on the other disc, and there's a string of very early songs that shows up Ravel's weaknesses at that stage. The best that can be said about Un grand sommeil noir is that I think this performance manages to make it less of a grumpy chore than it can be. But having it follow two other songs with the same kind of monotonous piano part might not have been wise, and immediately following it with Si morne! means you get two super-grumpy songs in a row.

The undoubted highlight is the Trois poèmes de Stéphane Mallarmé at the end. The opening paragraph of "Soupir" is simply gorgeous.

[Madiel]

Haha, an entirely understandable response, and I'm sure Pletnev must have known there'd be many more like you.

We can be fairly confident he doesn't care.

I think it might have been Hurwitz who also pointed out something you've pointed out - the stripping of dynamic power. I can't imagine why Pletnev would think that was a good idea. But then a whole lot of what you're saying gives me the impression that he's another musician who has fallen into the trap of novelty for novelty's sake.

And as discussed here before, there's a market for novelty. On this forum I see people caring more about whether a recording is different from the 15 they've already collected than whether it fits objective criteria like following the score (recognising that there's plenty of latitude within "following the score", but it only stretches so far). Which I find a strange way of seeking novelty - wanting it from another performance of the same music.

[PaulR]

Shostakovich: Symphony #4

[Iota]

I think it might have been Hurwitz who also pointed out something you've pointed out - the stripping of dynamic power. I can't imagine why Pletnev would think that was a good idea.

One could hazard various guesses as to 'why' he thought it was a good idea, but ultimately he presumably thought it was a good idea because he thought it was a good idea.

On this forum I see people caring more about whether a recording is different from the 15 they've already collected ...

I care about whether or not I'm interested in or like a recording. If it departs the status quo or doesn't isn't relevant to my liking of it.

[Traverso]

Fischer

Time to listen to this appealing music again.

[Harry]

British Works for Cello & Piano Vol.1.
See back cover for the works on this CD.
Paul Watkins, Huw Watkins.
Recording, Potton Hall, Dunwich, Suffolk; 5 and 6 April (Delius, Foulds, Bantock)and 5 June (Parry) 2012

When you listen to these works for cello and piano, you can't help but wonder why they never found their way into the repertoire. The works presented here, already makes it clear what we have been missing out on in terms of musical worth. The fact that we are dealing with four very different composer personalities promises sublime variety. it's a treasure trove filled with a whole bunch of emotions. There is always one or more that will appeal to most. A balm for me, as a blanket shields one against cold, so this music protects me from weariness.

[PaulR]

Weinberg: Requiem

[kyjo]

These cheerful and unfailingly melodious pieces were balm to my ears, to which Wagenaar's music sounds like a cross between Berlioz at his jolliest (Le carnaval romain) and Richard Strauss at his sunniest (the Rosenkavalier waltzes) --- and none the worse for that.

Yeah, Wagenaar's music is a total delight! His music is typically(?) Dutch in its high spirits, deft sense of humor, and no forced attempts at profundity. A few months ago I listened to this absolute treasure of a disc:



As one might expect, the performances by the Concertgebouw under Chailly are all one could ask for, full of virtuosity, vitality, and color. It's an all-to-rare example of lesser-known repertoire being given the royal treatment by a "major" label, conductor, and orchestra. For me, the highlights of the disc are the two dazzling, tuneful, and witty Shakespeare-inspired overtures, Cyrano de Bergerac and The Taming of the Shrew, as well as the Rosenkavalier-esque Weiner Dreivierteltakt. The fact that these undoubtedly crowd-pleasing works are totally absent from concert programs is a crime!

BTW, the above disc is (unsurprisingly ) out of print and absent from streaming services, but I was able to find a cheap used copy on Amazon.

[PaulR]

Weinberg: Symphony #6.

[pi2000]

Anton Bruckner
Symphony No.7
Zagreb Philharmonic Orchestra - Lovro von Matačić

15.6.1973

[Florestan]

Yeah, Wagenaar's music is a total delight! His music is typically(?) Dutch in its high spirits, deft sense of humor, and no forced attempts at profundity. A few months ago I listened to this absolute treasure of a disc:



As one might expect, the performances by the Concertgebouw under Chailly are all one could ask for, full of virtuosity, vitality, and color. It's an all-to-rare example of lesser-known repertoire being given the royal treatment by a "major" label, conductor, and orchestra. For me, the highlights of the disc are the two dazzling, tuneful, and witty Shakespeare-inspired overtures, Cyrano de Bergerac and The Taming of the Shrew, as well as the Rosenkavalier-esque Weiner Dreivierteltakt. The fact that these undoubtedly crowd-pleasing works are totally absent from concert programs is a crime!

Ahem... Cyrano de Bergerac has got nothing to do with Shakespeare. Edmond Rostand, otoh...

Otherwise, totally agree about the music --- and thanks for the Chailly tip, I will most certainly try it.

[PaulR]

Beethoven: Symphony #7

[Traverso]

 

[PaulR]

Bloch: Schelomo

[AnotherSpin]

Chopin: Preludes
Mikhail Pletnev (piano)

This is perhaps a recording that should be issued with a health warning, and only somebody with the supernatural chops of Pletnev could possibly get away with it. Whether he does that or not I couldn't say, but I can say that anybody with feeling for Chopin's preludes is unlikely to have their pulse unaffected.
Full of travesties of Chopin's instructions, weirdness, wilful deconstructions, breathtaking shows of pianism and sensational beauties, every prelude's got something going on (or some shock to your system, depending on your pov). Washes of sensuality in the B major prelude, never-heard-before ghostly voices whispering in the Eb minor prelude (with Chopin's 'pesante' marking dispatched to the sidelines) and inner voices in the Ab prelude that seem to spill off the melody like ethereal sprinklings of pollen, all spring to mind. Sometimes melodies are consigned to a completely backstage role and the accompaniment placed centre stage with disorienting effect, his imagination and refusal of standard practice remain in overdrive throughout.
One thing that seems to remain consistent is the stripping of dynamic power in all the preludes, climaxes and passion come muted both in volume and character, expected balances of tone are turned upside down, which allows other qualities he seeks to emerge. The effect is often like hearing them in some surreal dream.
Though I'm sure many will find this recording completely perverse, I must say I was fascinated and often seduced by it, bowled over by the pianism and also the boldness to do it I guess, and ultimately I'm  glad he did.

I didn't even try. Pletnev instantly ruins my mood without fail.

There's this strange feeling that the moment you come into contact with his dark energy, something unpleasant, perhaps even outright bad, is bound to happen in your life.

I realize this is completely my own thing, other people might feel something totally different, or even the complete opposite. Probably.