What are you listening 2 now?

[Irons]

Maria Yudina: Bach works.

Yudina not only a very special pianist but woman too.

[Florestan]

Stabat Mater

[Florestan]

[Harry]

Hendrik Andriessen (1892–1981)
Symphony No. 4 (1954)
Libertas venit - Rhapsody (1954)
Capriccio (1941)
Canzone (1971)
Netherlands Symphony Orchestra, David Porcelijn.
Recorded at the Enschede Muziek, (2012-2013), Centrum, Netherlands.
TT= 56:16.

The fourth symphony shows very clearly what a versatile composer Andriessen was. From whatever angle one approaches it, this work is an epitome of his compositional prowess. It is so well constructed that every note is firmly anchored in the context, namely to show that he masters all genres down to the last detail. The first part "Molto Grave, energico" has a dark beginning, and the light barely appears. The technique takes the music to perfection, and it sounds like he wants to say, see this is me! The second part "Andante Sostenuto" digs even deeper into the mood, as if the darkness were an end in itself. Even Mahler makes an appearance from time to time. This movement makes a deep impression on me! The third part of this work returns to the energetic beginning, albeit with a Vivace instead of Molto Grave. The violins determine the rhythm and drive the melodies into a frenzy. Three minutes into the movement, the melancholy molto grave determines the balance in the development of the symphony, and then continues in a milder way. A perfect ending. Personally, I think this is Andriessen's best work. I could run it continuously without getting tired of it.
Libertas Venit-Rhapsody, begins as darkly as the Fourth Symphony, with beautiful brass, on which the violins lean in comfort, and an almost elegiac mood wrings itself out of the context. The timpani strike deeper into the minor key at a desperate pace, as to arise at a jolly tempo into the major key. Really impressive.
The next work "Capriccio" tries to find a light tone, with an oriental touch here and there. The emphasis is again in line with the previous works on this CD, with the brass and the violins having an important element in common, namely perfect harmony.
The last work on this CD "Canzona" is a glorious conclusion. Short and sweet in expression, even a little pastoral in expression, and magical even.
Perfect recording and sound.

[Florestan]

[Harry]

Cipriani Potter (1792–1871)
Symphony No. 1 in G minor.
Introduzione e Rondo (alla militaire) in E flat major for Piano & Orchestra.
Overture to Cymbelene.

Claire Huangci, Piano.
BBC National Orchestra of Wales, Howard Griffiths.
T.T.: 59'00.
Recorded at the Hoddinott Hall, Cardiff.


Cipriani Potter is a British composer who has actually been completely forgotten. You could argue that the list of forgotten composers is so long that it is impossible to do justice to everyone. And if we had the opportunity to listen to every forgotten composer, we would lack the time to put words to action in this respect. The first symphony is really a well-composed piece, which without frills or jokes, is a very successful enterprise. Melodic and creative. Full of effective twists and turns. The "Introduzione e Rondo" (Alla Militaire) in E flat major for Piano and orchestra, is a nice piece but of little consequence. Quickly forgotten after one hearing. The Overture to "Cymbelene has more meat on its bones, but in itself it is a scant meal. The first symphony is the most appealing work, and for that alone worth the investment of 7.99 euros. Good performance and sound.

[Harry]

Friedrich Gernsheim.
Violin concertos No. 1 & 2.
Fantasiestück for Violin and Orchestra.
Linus Roth, Violin.
Hamburger Symphoniker, Johannes Zurl.
Recorded in the Miralles Hall, Hamburg, 2013.
TT= 62:00.

While browsing through my collection I find quite a lot of the composer Gernsheim, and listening to the Violin concertos I understand why. His footprint as a composer matched my taste to a T. Romantic to the core, melodious and an stream of lovers passion, what more could one possibly want. The performances are perfect, the sound too, apart from some boomy timpani, but the front to back image and detail is as good as it can be.

[Spotted Horses]

Stealing time for the Howell's third quartet, this time the third movement.



This is a stunning movement. It begins with a gentle, solo melodic statement, becoming richer as the other voices enter, culminating in an intense central section, before returning to the mood of the opening. The notes to the CD suggest it is an expression of grief. I don't know if that is so, but it certainly makes an impression.

[Lisztianwagner]

First listen to this composition:

William Alwyn
Sinfonietta for strings

Richard Hickox & London Symphony Orchestra

[Karl Henning]

I'm very unfamiliar with the chamber vocal works of Ravel and Debussy, so this disc is a welcome addition for me.

Love that Nash Ensemble album!

TD:

Chopin
Ballade № 1 in g minor, Op. 23
Ballade № 2 in F, Op. 38
Ballade № 3 in A^b, Op. 47
Ballade № 4 in f minor, Op. 52
Tarantelle, Op. 43
Kathryn Stott

[Linz]

Mozart Complete Piano Concertos Alfred Brendel, Concerto No.20 in D minor, K466 and Concerto No.21 in C, K467, Academy of St. Martin-in-the-Fields, Neville Marriner

[Florestan]

Listened to the first disc. The second, tomorrow.

It's good. Very good, actually. The libretto, by one Michelangelo Boccardi is a most welcome alternative to, although quite similar in setting and tone, Metastasio's ubiquitous at the time La Passione di Gesu Cristo Signor Nostro and the music, well, it's Zelenka, ie exquisitely crafted and deeply moving. Highly recommended. @Que , @Harry , try it if you haven't already.

[Florestan]

Stabat Mater

Incredible as it may seem, this was my first ever listening to this work. Needless to say, I'm mightily impressed and I have to takes issues with those who claim that Rossini was not exactly the man to write a Stabat Mater. Firstly, however far from a devout believer he might have behaved in his life (which by itself is no reason to question his faith), he nevertheless absorbed the Catholic popular piety and artistic aesthetics from his mother's milk, as it were*. Secondly, there's nothing in it even remotely ressembling an opera buffa apart from the Belcanto style; one can vividly sense this is not even opera seria. It's serious and heartfelt, and the most impressive moments are the purely a capella Eja Mater, fons amoris and Quando corpus morietur.

AFAIC, this is yet another masterpiece from a genius and it has instantly become my favorite Stabat Mater, on a par with Pergolesi's. Now I need a third one of the same quality to complete a top three. Tomorrow I'll see if Poulenc might fit in.

*btw, are there any non-Catholic composers who wrote a Stabat Mater? It would be interesting to hear their take on the subject matter. It seems to me that the next best equipped to tackle it would be the Orthodox ones, with the Protestants at a distant third.

[Karl Henning]

Listened to the first disc. The second, tomorrow.

It's good. Very good, actually. The libretto, by one Michelangelo Boccardi is a most welcome alternative to, although quite similar in setting and tone, Metastasio's ubiquitous at the time La Passione di Gesu Cristo Signor Nostro and the music, well, it's Zelenka, ie exquisitely crafted and deeply moving. Highly recommended. @Que , @Harry , try it if you haven't already.

Listened to the first disc. The second, tomorrow.

It's good. Very good, actually. The libretto, by one Michelangelo Boccardi is a most welcome alternative to, although quite similar in setting and tone, Metastasio's ubiquitous at the time La Passione di Gesu Cristo Signor Nostro and the music, well, it's Zelenka, ie exquisitely crafted and deeply moving. Highly recommended. @Que , @Harry , try it if you haven't already.

You know, something about the colors and typography, but it wasn't until I read this subsequent post that I understood the composer is Zelenka. Somehow I took the conductor for the composer. Highly interested in this, now.

[ritter]

Incredible as it may seem, this was my first ever listening to this work. Needless to say, I'm mightily impressed and I have to takes issues with those who claim that Rossini was not exactly the man to write a Stabat Mater. Firstly, however far from a devout believer he might have behaved in his life (which by itself is no reason to question his faith), he nevertheless absorbed the Catholic popular piety and artistic aesthetics from his mother's milk, as it were*. Secondly, there's nothing in it even remotely ressembling an opera buffa apart from the Belcanto style; one can vividly sense this is not even opera seria. It's serious and heartfelt, and the most impressive moments are the purely a capella Eja Mater, fons amoris and Quando corpus morietur.

AFAIC, this is yet another masterpiece from a genius and it has instantly become my favorite Stabat Mater, on a par with Pergolesi's. Now I need a third one of the same quality to complete a top three. Tomorrow I'll see if Poulenc might fit in.

*btw, are there any non-Catholic composers who wrote a Stabat Mater? It would be interesting to hear their take on the subject matter. It seems to me that the next best equipped to tackle it would be the Orthodox ones, with the Protestants at a distant third.

From what I've read, an original version did in fact include sections that were not by Rossini (he did not have time to complete the commission he had received). later, Rossini discarded those sections written by the other composer and completed the work himself.

BTW, the (now demolished) convent where the Stabat Mater was first performed stood 10 minutes way by foot from my home here in Madrid.

Buona sera, mio Signore!

[Florestan]

You know, something about the colors and typography, but it wasn't until I read this subsequent post that I understood the composer is Zelenka. Somehow I took the conductor for the composer.

Why, somehow Hermann Max strikes me as more a 19th or 20th century German name than an 18th century one, and as such less likely to have written a Gesu al Calvario oratorio. 

Highly interested in this, now.

YHM.

[Florestan]

From what I've read, an original version did in fact include sections that were not by Rossini (he did not have time to complete the commission he had received). later, Rossini discarded those sections written by the other composer and completed the work himself.

AFAIK, it was not that much a question of time as one of interest. But years after he indeed purchased the manuscript of the first version and completed it himself, which shows that he was actually interested --- maybe the passing of time made he more attuned to the subject matter.

BTW, the (now demolished) convent where the Stabat Mater was first performed stood 10 minutes way by foot from my home here in Madrid.

Interesting. The demolsihing of such a historically relevant convent was a cultural crime. 

Buona sera, mio Signore!

Pace e gioia per mill'anni!

[foxandpeng]

Composer : James MacMillan
Recording : Oboe Concerto (MacMillan - 2014)
Performers : James MacMillan, Britten Sinfonia, Nicholas Daniel (oboe)

Also listening to the James Macmillan Oboe Concerto.

[foxandpeng]

Great minds, etc...
Well, mine was a random choice, but it's definitely a great piece.
Same recording your end, or someone else's?

Same as yours, sir, as directly inspired by your post. Having heard the Schnittke Viola Concerto earlier, I wanted another Concerto with a different instrument. I was going to plug for the Jennifer Higdon Viola Concerto which I very much enjoy, but your post led me here instead.

Good call. It is, indeed, a great piece with lots to hold the attention.

[Florestan]

Well, mine was a random choice, but it's definitely a great piece.

I'm curious: have you never felt like "To hell with the randomizer, now I want to listen to some Britten?"