What were you listening to? (CLOSED)

[George]

My, that looks tasty!! 

[mahlertitan]

Bruckner Symphony No. 4 (1874) version by Lopez-Cobos Cincinnati symphony orchestra

[Bonehelm]

Bruckner Symphony No. 4 (1874) version by Lopez-Cobos Cincinnati symphony orchestra

What coincidence, Bruckner symphony No.4 same version by Wand, BPO live

[val]

Good morning to all.

J S BACH:  Easter Oratorio / Magnificat

by the Gabrieli Consort & Players, Paul McCreesh


Splendid version of the Easter Oratorio, superior to the one of Herreweghe. Light, with a nice phrasing, and with the freshness usual in McCreesh.
The Magnificat is also good, but Gardiner still remains my favorite.

McCreesh uses a singer by part, in the choir, and this aesthetic, no matter his hypothetical correctness, doesn't convince me.

Anyway, a different and very agreable version.

[Harry]

Goodmorning from rainy Holland.

Beethoven.

Sonata for Piano and Cello.

In C major, opus 102, No. 1.
In D major, opus 102, No. 2.

Anner Bijlsma, Cello.
Jos van Immerseel, Piano.

The second disc from the Beethoven in this box. And my impressions gets better and better. The authentic approach reaps great benefits for me. Sound wise, its a dream, lots of extra detail emerging, without effort. The music gets a beauty unsurpassed by any modern interpretation, and that is very addictive to be sure. Not that I will discard the other recordings I have, but it will dictate my future purchases more as it did already. Beethoven could not wish for better advocates as those playing on this record. What a wonderful bargain this anniversary box is.

[Florestan]

Ernest Chausson

Poeme de l'amour et de la mer, op. 19

Waltraud Meier, mezzo-soprano
Philadelphia Orchestra
Riccardo Muti

Exquisite.

Good day/morning/evening to all!

[Harry]

Ernest Chausson

Poeme de l'amour et de la mer, op. 19

Waltraud Meier, mezzo-soprano
Philadelphia Orchestra
Riccardo Muti

Exquisite.

Good day/morning/evening to all!

So early in the morning, my, you are a dare devil!

[Harry]

Boccherini.

Overture ( Sinfonia)in D major, G 521.
Concerto for Cello and Orchestra in D major. G 476.
Octet ( Notturno) in G major. G. 470.
Concerto for Cello and Orchestra, in C major. G. 573.
Sinfonia in C minor. G. 519.

Anner Bijlsma, Cello.
Tafelmusic on period instruments/Jeanne Lamon

And again these interpretations open a new world in general and in the case of Boccherini, and not least Tafelmusic. I must confess this is my first recording with them, and having that admitted to my shame, I also confirm the believe Que has in these performances. I saw come by many a cd with these guys, and always lifting a eyebrow. Not so anymore Que, I am a convert as there ever was. Therefore I am glad that the recent Brilliant recordings are also played on period instruments, for I bought them a while ago. Both performances have their merit, and I would not like to be without either.
Still find the music of B fascinating and rich in invention.
The recordings from 1993 sound fine to me, very much in a chamberlike surrounding.

[Florestan]

So early in the morning, my, you are a dare devil!

[wintersway]

Good morning/day to all! Agonizingly beautiful music, sublimely played, for a dreary Monday!

[Harry]

Friedrich Gernsheim.

Symphony No. 3, in C minor, opus 54. "Mirjam".

Staatsphilharmonie Reinland Pfaltz/Siegfried Kohler.

I think the third is the weakest in the four symphonies Gernsheim wrote. Allthough the third movement "Molto Vivace" is ravishing beautiful. What Gernsheim fails to accomplish, is a lasting melody, he hops from one line to another in double quick time, before something recognizable as a melody comes out. Thanks to the fast tempi Kohler implements, there is no dragging, and for that he must be complimented. Brahms of course is ever present in this C minor work, and in many instances Gernsheim is very resourcefull in finding variations on themes Brahms developed, out of classical patterns, but the lack of repeats of memorably melodies kills the work somewhat. Internal balance is not always maintained. Nevertheless this orchestra and conductor do everything possible to launch this world premiere recordings, into the concerthalls, and allthough I applaud that, the effort will be of no consequence. Interesting to hear, this is no concerthall material, but belongs firmly in the rarity collection of connoisseurs.
The recording is somewhat overbearing and less adept in giving enough details.

[Harry]

Good morning/day to all! Agonizingly beautiful music, sublimely played, for a dreary Monday!

It must be, by these forces WW.

[George]

Bruckner

5th Symphony

Dohnanyi/Cleveland


Only a first listen, but I was not moved by this performance. 

[George]

Dohnanyi is often in my circles compared with a digital amplifier.
Technical perfect, but no Character.
I once heard hid rendition of the Brahms Symphonies, and it did not move me at all.
Mendelsohn Symphonies also, I have them, but it does't move me.

Very well said, Harry. Without the emotion, we might as well be reading Binary code. 

[Harry]

Friedrich Gernsheim.

Symphony No. 4 in B flat major, opus 62.

Staatsphilharmonie Reinland Pfaltz/Siegfried Kohler.

This Symphony fares much better as the third, and is also a more personal statement of Gernsheim as all others. He has distinctly his own voice in this one, and is more balanced too, longer lines, more discernable melodies, better and tighter scoring in strings and brass, and woodwinds altogether.
Its glorious, very much on its toes with jubilant tone, in line with the B flat major key.
Brahms is there of course but less pressing as in the others. A shame Gernsheim did not continue his skills in Symphony writing.
Recording is the best from all others, and the Orchestra and conductor do the music proud.

[Harry]

Spohr.

Complete Violin Concertos, volume II.

In A major, WoO12.
No. 3 in C major, opus 7.
No. 6 in G minor, opus 28.

Ulf Hoelscher, Violin.
RSO Berlin/Christian Frohlich.

In these concertos you clearly hear what a good orchestrator Spohr really was, and that his tunes are often bordering on the genius, as with some of his symphonies, which I have to explore yet.
The writing for the Violin is absolutely stunning, no doubt about that, and can stand well alongside many other contemporaries. The Orchestral part is sometimes a bit sluggish, and tempi could be a tad faster and the concentration a bit more alert to the character of these works. But apart from that, they are utterly delightful, and giving you a great time of easy listening, of a quality not easily surpassed.
For the money they give us a good run.

[BachQ]

Bruckner 9 (Boulez)
Brahms Piano Concerto no. 1 (Alexis Weissenberg)
Brahms Piano Concerto no. 1 (Manny Ax)

[Choo Choo]

Dohnanyi is often in my circles compared with a digital amplifier.

What a remarkably stupid thing to say.

[Choo Choo]

Oh certainly, if what you seek is a cheap fix of easy sentimentality, then likely you (and your friends) will find Dohnanyi disappointing.

[Choo Choo]

Both conclusions are incorrect, please read what I wrote instead of giving quick answers.
We are serious music lovers, and all above 40 with huge collections, and experience, not a bunch of intolerant youngsters.
So we may talk about what we hear and feel, right?!
As I said we admire the technical prowess and skill of this conductor, but if you want to know what we mean, just listen to the Mendelssohn box on Decca. While we enjoy many things about his conducting, what is almost always missing is a certain warmth, not sentimentality, but a human approach, notes and emotion.

Are you aware how insulting this is?  Day after day you post on here a record of the torrents of worthless musical sleaze in which you choose to immerse yourself - and yet you think you have the right to lecture others on where musical merit does and does not lie?  What insufferable arrogance.

You know what?  I've had enough of this.