What are you listening to now?

[wintersway]

[Harry]

  A nice surprise.

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[Karl Henning]

You seem to have missed the couple posts below it, Karl.

I did, indeed!  Playing catch-up after being essentially absent thanks to the pair of fun concerts by The Ninth Ear.

[Karl Henning]

Now:



Listening to Konzertmusik. Excellent work and performance.

I had to check the cover to see that you meant the Op.50!   I am a big fan of the Op.49 Konzertmusik, too.

[Karl Henning]

Good afternoon all,
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6th symphony, In The Fen Country, On Wenlock Edge.

The 6th symphony is just incredible. And these extras are lovely too.

+ 1

[Karl Henning]

Thread Duty:

(even though it's only MIDI . . . .)

kh
Agnus Dei, Op.106, № 5

[AnthonyAthletic]

Spinning some chunks of Elektra & Salome, RCA Reiner recording from the box set.

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[listener]

HAYDN: String Quartets op. 77/1 & 2
Kodaly Quartet
and French organ music by BARIÉ (op. 7), VIERNE, LANGLAIS, DUPRÉ
and the less common d'INDY (op.66), ROUSSEL (op. 41), and HONEGGER
Marie-Bernadette Dufourcet Hakim, organ of Notre-Dame-des-Champs, Paris (Cavaillé-Coll, 1876/Schwenkedel 1969)

[HIPster]

Unfortunately, you don't have a lot of choices here: Bernius or Junghanel. That's it.

Junghanel is all about transparency, although it's a bit weak conveying sacred feelings. Additionally, I miss some inventiveness in the continuo, invariably provided by the organ. 

Anyway, it's the best option available. 

Thank you, Gordo!

I will heed your wise words here. . .

Perhaps Concerto Palatino will someday record the 3rd book.

[milk]

Rosalyn Tureck (DG) plays BWV 885, G minor. She makes the final moments of the fugue sound like a release from suffering, the emotional tone changes from despair to confidence and security. I enjoyed the prelude less.




In the final moments of the prelude of 885, Valery Afanassiev is so poignant with the music in the treble voice, I almost couldn't believe my ears. I  enjoyed the  fugue less.



Ton Koopman's ornamentation and voicing in the G minor prelude are a revelation. The ornaments seem to add to the feeling of sweet anguish (of Jesus?), the trills are are like a suffering hand's feeble tremor - astonishing.



Glen Wilson is ominous in the prelude of 885, the way he plays the rhythmic moftif, it made me think of the hammer and nails of the crucifixion. The pleading treble voice at the end receives no comfort. The fugue is played energetically, full of static electricity, and makes me think of a mind turning, distressed by terror. At the conclusion of the fugue, we find something much less comforting than Tureck - but something which is maybe more true. The anguish and turbulence are transformed into grim determination and strength.

I'm finding these little reports interesting. They're inspiring me to listen to what I have to see what I can hear. I found Gilbert to be an interesting contrast on 886 with his slight staggering in the prelude. Anyway, I hope you keep going. It might be interesting to put them all together later on. 

[Mandryka]

I'm finding these little reports interesting. They're inspiring me to listen to what I have to see what I can hear. I found Gilbert to be an interesting contrast on 886 with his slight staggering in the prelude. Anyway, I hope you keep going. It might be interesting to put them all together later on.

Gilbert's consistently satisfying I think.

[Mandryka]

Katy Roberts Perl plays BWV 887, the  G sharp minor from WTC 2. The dominant emotion, maybe the unique emotion, in the prelude is sorrow. That seems so right and revealing to me, given than the music is absolutely stuffed with sighing motifs.




Rosalyn Tureck (DG) In the development of the diatonic theme in the first part fugue of 887, there's a feeling of sweet nostalgia. In the final part of the fugue, when the positive diatonic and sad chromatic themes are brought together, the emotional result is ineffable, magic.

[Wakefield]

Listening to some Beethoven's piano sonatas by the infamous HJ Lim:



Having a good time, indeed. 

[Wakefield]

Katy Roberts Perl plays BWV 887, the  G sharp minor from WTC 2. The dominant emotion, maybe the unique emotion, in the prelude is sorrow. That seems so right and revealing to me, given than the music is absolutely stuffed with sighing motifs.

She's a great (and almost unknown) American harpsichordist. Her partial recordings of the WTC and the French Suites are both of them excellent, as excellent was also her Duphly.

http://magnatune.com/artists/albums/kperl-french

[Que]

Unfortunately, you don't have a lot of choices here: Bernius or Junghanel. That's it.

Junghanel is all about transparency, although it's a bit weak conveying sacred feelings. Additionally, I miss some inventiveness in the continuo, invariably provided by the organ. 

Anyway, it's the best option available. 

Thanks, I guess I'll have to wait for Rademann....

Q

[Karl Henning]

Brahms
Horn Trio in E^b, Op.40
The Nash Ensemble

[Papy Oli]

Good evening all 

I have received the Hogwood / Vivaldi boxset earlier today so a first listen now to "L'Estro Armonico - 12 Concertos Op.3"

[Pat B]

Not really a Hantai disc - his role is next to that of flautists Hugo Reyne and Sebastien Marq only secondary.

Yes, but I am glad they included that disc anyway. I quite enjoyed it, and I would never have bought it on its own.

Thread duty: So far today:
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Beethoven: Late Piano Sonatas (Rosen/Sony). I know this set was hard to find for a while (aside from being in a huge Beethoven box) but there are a few copies at reasonable prices now.

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Prokofiev: Symphony 1, Piano Concerto 1 (Richter), Piano Concerto 2 (Baloghová) (Ancerl/Supraphon)

[Harry]

A curiosity.

Jakob Adolf Hagg.
Orchestral works.
Sterling records.

Sorry could not find a good image.

[listener]

3 orchestral suites by Alexander MOYZES
Gemer Suite op. 51   Down the River Vah op. 26   Pohronie Dances op. 43
CSR S.O. Bratislava / Lenard, cond.
ELGAR: 'Falstaff' op. 68    'Enigma' Variations op. 36
London Philharmonic O.   /Mackerras
I don't hear anything Welsh in the Falstaff