What were you listening to? (CLOSED)

[Harry]

After some Lugansky (Rachmaninov's Préludes and Mozart's piano concertos nos.19 & 20), it's time for Pfitzner's chamber music. This disc I came to enjoy more and more with every listening.

That is indeed a fine recording, will take that out of my stored collection and play it again.

[wintersway]

Good morning/day to all!

[Que]

...but if you knew me well, you would know that I like Froberger as well. In my playing days, long ago, I attempted Froberger, but it was so difficult to play, that I gave this composer up, and rather bought cd's on which others tortured themselves with these fiendishly difficult notes, but beautiful music!

But I do know you that well, Harry. I was only kidding!
And yes, Froberger sounds terribly difficult to play. And I agree about the gorgeous music - Froberger has been my biggest non-Bach find in German baroque music after Biber.

Q

[Sergeant Rock]

.....and?

I'm working my way slowly through the box and this is the first disc that grabbed me immediately. My initial thought was: ah, when Holden gets around to this sonata, Fischer is definitely going to be in the running for the first time. When I make the comparisons, that may change but I doubt it at this point. I really like it; 14/1 as well.

14/2...well, now that I'm in my dotage, I no longer want Moonlight Adagios to be this slow (slower, I think, than I've ever heard it) which I know is contrary to my usual preferences for slow over fast tempos in almost any music. Still, it's an impressive, deeply felt performance, one I would have fallen in love with twenty years ago. But I prefer a more classically restrained (emotionally) reading now. When I want to wallow in despair, though, this Adagio will make excellent background music for my mood  

I couldn't give my full attention to 101 because I was preparing dinner. I'll have to give it another listen.

Sarge

[Harry]

This cd has been a joy from the very first beginning that it found its way in my player. See my review of it on 2-6-2008.

[Harry]

But I do know you that well, Harry. I was only kidding!
And yes, Froberger sounds terribly difficult to play. And I agree about the gorgeous music - Froberger has been my biggest non-Bach find in German baroque music after Biber.

Q

I know you meant well and was only kidding Que, sorry for the confusion my friend.

[Sergeant Rock]

Death notwithstanding, do you rate this set highly.  I've been listening to the St. Petersburg quartet set on hyperion and have come to the conclusion that it leaves a lot to be desired.

I do rate it highly. The Rubio Quartet surprised me: a group I'd never head of before, offering the entire cycle at a super budget price. Could it really be any good? Despite owning the first Borodin set and the Fitzwilliam box too, I bought it. It makes an especially good companion to the Borodin: Rubio emphasizes the beauty in the music, downplaying the violent contrasts. The playing is exquisite (they don't make ugly sounds) and the recording superb, well-balanced and pleasing.  If you want your Shostakovich to be extremely emotional look elsewhere. But if a refined, always pleasing sound appeals, Rubio delivers. For you personally, Scarpia, it might make a good choice. One critic says about their performances of the late quartets: "Rubio's emphasis on lyricism goes far toward making the music's bleakness and dark emotional demeanor more palatable (and consequently more expressively direct) than many less ingratiating interpretations."

I wouldn't recommend Rubio's Shostakovich as your only set (one must have the Borodin or Beethoven too). But it does make a very satisfying second set or third. At least it satisfies me (I'm sure there will be dissenting voices heard). Their 15th really is a thing of beauty. Death ain't so bad after all

Sarge

[Sergeant Rock]

Sarge - you seem to have some of my favorite BIG BOX collections - nice stuff!    Dave

Hey, Dave. The Rubio's Shostakovich appealed to me instantly. Annie's Beethoven is taking a bit longer for me to warm to...but then I have pretty eccentric taste in Beethoven sonatas. Still, she's beginning to grow on me.

Sarge 

[ChamberNut]

Wagner

Das Rheingold

Scenes III and IV

Levine/Metropolitan Opera Orchestra and Chorus
DG

[karlhenning]

  Oh Yes!  A set to die for

No, thanks.

[Harry]

Again!

This cd has been a joy from the very first beginning that it found its way in my player. See my review of it on 2-6-2008.

[karlhenning]

A mighty fine disc, Harry!

This morning so far:

Sergei Sergeyevich
Piano Concerto No. 1 in D-flat Major, Opus 10
Michel Béroff, pf
Leipzig Gewandhaus Orchestra
Masur

Palestrina
Missa Papae Marcelli
Oxford Camerata
Jeremy Summerly

C.P.E. Bach
Harpsichord Concerti

The last, courtesy of a particularly kindly Dutchman  0:)

[Harry]

Every single movement be it from Rosner or Flagello is a marvel.
Surprising how many nice dutch people there are huh?

[karlhenning]

Surprising how many nice dutch people there are huh?

No surprise to me 

And now:

Dmitri Dmitriyevich
String Quartet No. 14 in F# Major, Opus 142
Borodin Quartet

[FideLeo]

Abbado's first period-instrument recording with his hand-picked Orchestra Mozart.  Not half bad either

[Keemun]

Symphony No. 2 (Neeme Jarvi/Royal Scottish National Orchestra)

[Que]

Abbado's first period-instrument recording with his hand-picked Orchestra Mozart.  Not half bad either

So, what is the other half? 
Please tell us more. I'm interested by a performance by Carmignola, who did an earlier Mozart cycle on Brilliant but which has not been generally well received...

Q

[scarpia]

I do rate it highly. The Rubio Quartet surprised me: a group I'd never head of before, offering the entire cycle at a super budget price. Could it really be any good? Despite owning the first Borodin set and the Fitzwilliam box too, I bought it. It makes an especially good companion to the Borodin: Rubio emphasizes the beauty in the music, downplaying the violent contrasts. The playing is exquisite (they don't make ugly sounds) and the recording superb, well-balanced and pleasing.  If you want your Shostakovich to be extremely emotional look elsewhere. But if a refined, always pleasing sound appeals, Rubio delivers. For you personally, Scarpia, it might make a good choice. One critic says about their performances of the late quartets: "Rubio's emphasis on lyricism goes far toward making the music's bleakness and dark emotional demeanor more palatable (and consequently more expressively direct) than many less ingratiating interpretations."

I wouldn't recommend Rubio's Shostakovich as your only set (one must have the Borodin or Beethoven too). But it does make a very satisfying second set or third. At least it satisfies me (I'm sure there will be dissenting voices heard). Their 15th really is a thing of beauty. Death ain't so bad after all

Sarge

My first exposure to Shostakovich was the Eder set of Naxos, which I still regard as a solid set of performances.  Recently I have listened to the cycle with the St. Petersburg Quartet on hyperion, which I have concluded is totally unappealing, very harsh tone, lacks expressiveness or personality.  I've just started listening to the Fitzwilliam set, which I find much more satisfying.   The recommendations for the Borodin always confuse me, is the "First Borodin" the one on Chandos historical?  The second Borodin (on Melodiya?) seems to be unavailable in the US, except for a excerpts on a 2-fer from Virgin.  How do the two sets compare in perfomance style and audio quality?


 

[Lethevich]

Revisiting this for the first time in a while. This is one of the best value sets I've ever encountered in terms of such a high quality performance meeting music of superb richness. It is full of gems, and the Liverpool orchestra sound extremely good, despite initial feelings that they may be a bit too provincial. The performances generally sound every bit as good as cycles recorded by the London orchestras. Handley just nails everything in the tempi and balances, allowing the music to unfold with the utmost clarity where another conductor may have chosen to milk the beauty a little more. No other cycle excluding Boult's stereo set (which is sabotaged by the symphony interps being less vital than the mono ones) can offer such a range of wonderfully chosen extras.

[karlhenning]

Revisiting this for the first time in a while. This is one of the best value sets I've ever encountered in terms of such a high quality performance meeting music of superb richness. It is full of gems, and the Liverpool orchestra sound extremely good, despite initial feelings that they may be a bit too provincial. The performances generally sound every bit as good as cycles recorded by the London orchestras. Handley just nails everything in the tempi and balances, allowing the music to unfold with the utmost clarity where another conductor may have chosen to milk the beauty a little more. No other cycle excluding Boult's stereo set (which is sabotaged by the symphony interps being less vital than the mono ones) can offer such a range of wonderfully chosen extras.

And I like it, too.