Over these past few months, I've heard four new performances (for me) of Berlioz' Symphonie fantastique: a work I'll sit down & listen to ANY performance of. It's that sort of work, simply speaking--one that lends itself to an infinite variety of interpretations. The performances are:
1. KARAJAN 3. This one's from the mid 70s, DGG of course. If this is really his fourth, someone please correct me. Karajan's recorded output I always admired--from afar. The man's simply recorded anything & everything, if ever a conductor has, and while I withhold any latent antipathy I might feel (and which others openly express), I still try to ask myself, Is This The Ideal Performance? A few instances (like his first 2 stereo Beethoven Sevenths) I would heartily affirm; many other times I shun it in favor of a competitor's, though Karajan's never too far down in preference. Having only heard a limited number of his recordings, I'd only say that the alleged "distortions" he committed were weensy in number. The Fantastique is here intelligently done, one that's balanced and has, personalitywise, the beefcake that marks the man's approach (actually, perhaps not beefcake, but paternalism). Nothing unusual to raise my hackles whenever hearing the work, nothing special in the way of tempo extremes (making it an ultimate reject in my library); yet one I can still recommend to nearly anyone else.
2. JAMES CONLON--on Erato, with French Nat'l Orch. Again, like Karajan's, well-paced & well-shaped and with the dynamics all falling where they should, though this time it's more of the Gallic persuasion (interesting, since Conlon's a Brit filmscore conductor). Nothing too distinctive, being rather interchangeable with the second- and third-echelon French maestros (Pretre or Lombard, for instance.....I'd easily take Pretre's BSO or VSO recordings over this one any old day). Still, one could do far worse.
3. CARLO ZECCHI--on Supraphon, with Czech Phil. Not too familiar with this gent's work, though I suppose he does it as well as any Italian operatic conductor could hope: very clean playing (& a good ensemble to ensure this, too), intelligently thought out approach, and still the kind of nondescript, middle-of-the-road performance I'd almost as soon hear from a Karajan.
4. GENNADY ROZHDESTVENSKY--w/Stockholm Phil., on a now-out-of-print Chandos CD....not yet reissed, sad to say. Rozhdestvensky's lugubrious (and yet extremely accessible) approach has lots to recommend it; indeed, it's akin to a past Russian maestro, Koussevitzky, interpretively speaking. The third movement is stretched to an astounding fifteen seconds short of 19 minutes, but if ever a conductor were in a position to do so artistically, Rozh is the man.....the movement becomes a very obvious centerpiece for the entire work, something I could scarcely say of any other performance I've heard. Long in terms of overall length (over 55 minutes), and this is MINUS taking the first- and fourth-movement repeats. The bells Rozh uses in the final movement are unique: sounding much like Munch's bells, though without the overtones or reverberation; an interesting hollowness. Unfortunately, Rozh's contact with the listener goes awry with this movement--he's spent the entire work keeping the aural eye-contact with the listener, and he sadly loses projection here. Ah, well. This is probably the one out of all the four here that I'd keep, though Koussevitzky, Argenta & Bernstein 1 are really the best examples of this type of approach.
What are you listening to?
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Wallingford
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You're right about Karajan's recordings. I pulled out my two DGG and they're actually slightly different timing-wise. The 1965 Polydor International recording re-issued on "Resonance" has a 16:22 final movement; the 1975 Polydor recording on standard DGG has a 16:47 final movement. I never thought of comparing both before you mentioned this!
Ormandy offers a faster performance, overall, under 48 minutes. The Columbia Library of Congress card suggests that it was issued around 1960-61. I don't have a Rozhdestvensky recording. I bet it would contrast quite a bit with this one.
Ormandy offers a faster performance, overall, under 48 minutes. The Columbia Library of Congress card suggests that it was issued around 1960-61. I don't have a Rozhdestvensky recording. I bet it would contrast quite a bit with this one.
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Wallingford
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That's Ormandy 2 you're mentioning. It yields, in my book, to Ormandy 1 & 3....much better bringing out of Berlioz' unique sonorities. A shame neither of those two were reissued on CD.
I think, in terms of timing, Paray, Munch, Ozawa & de Froment all did it in under 45 minutes.
Rozhdestvensky's approach calls to mind his own take on Rachmaninov's Isle Of The Dead.....he stretches it out to a stupefying 27 minutes! An absolute dare, but he has the mesmerizing power.
I think, in terms of timing, Paray, Munch, Ozawa & de Froment all did it in under 45 minutes.
Rozhdestvensky's approach calls to mind his own take on Rachmaninov's Isle Of The Dead.....he stretches it out to a stupefying 27 minutes! An absolute dare, but he has the mesmerizing power.
Good music is that which falls upon the ear with ease, and quits the memory with difficulty.
--Sir Thomas Beecham
--Sir Thomas Beecham
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Wallingford
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RebLem
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In the week ending Saturday, 10 NOV 2007, I listened to the following:
1, 2. 10/10 Bach, J.S.: Leipzig Chorales, S. 651-667 (1’24”16)—Bine Katrine Bryndorf, organ—hanssler 2 CD set, Vol. 97 of CBE.
3, 4, 5, 6, 7. 10/10 Beethoven: Complete Symphonies—David Zinman, cond. Tonhalle Orchestra Zurich, and, in 9th, Fritz Naf, chorusmaster, Schweizer Kammerchor, Ruth Ziesak, soprano, Birgit Remmart, alto, Steve Davislim, tenor, Detlef Roth, bass—Arte Nova 5 CD set—CD 1—Sym 1 in C Major, Op. 21 (23:47) |Sym 2 in D Major, Op. 36 (29:34). CD 2---Sym 3 in E Flat Major, Op. 55 “Eroica” (45:09) |Sym 4 in B Flat Major, Op. 60 (30:00). CD 3—Sym 5 in C Minor, Op. 65 (33:18 ) |Sym 6 in F Major, Op. 68 “Pastorale” (39:56) CD 4—Sym 7 in A Major, Op. 92 (37:26) |Sym 8 in F Major, Op 93 (23:00) CD 5—Sym 9 in D Minor, Op. 125 “Choral.” The CD times out at 72:34, but the symphony lasts only 58:42. The timing is longer because there is lots of recording of dead space, and mostly because there are two versions of the last 12:57 of the symphony recorded. Beethoven originally scored the symphony with a “general pause” in bar 747 just before the word “Bruder.” That version is recorded as an alternate version. I must say, I do not hear a general pause at all. I have no idea what Zinman is talking about here. Also, at some points, Zinman goes back to an older style of performance practice, by emphazing the word "Kuss" in the manner of Mengelberg and many others of his generation.
Now, for the set generally. I am not a musician and do not read music, so sometimes it is difficult for me to find the language to describe what I hear. But imagine you were listening to piano reductions of the symphonies. Most recordings would have lots of pedal in them, with notes lingering on for several seconds, even as the symphony proceeds with new music. In this set, there is little “pedal.” Notes and phrases are crisp, clipped, and clear, and, as a result, many inner voices, obscured in other versions, are brought to the fore. At least, that’s the way it us up through the 3rd movement of the 6th symphony. Then, in the 4th movement, the storm movement, where you would want some pedal, it happens. But it seems like, somehow, they keep going with the pedal, with much more conventionally drawn performances, in the 5th movement, and in the last three symphonies.
This is an excellent set, and I can understand the argument that it is now the standard by which others should be judged. But the change in styles really seems to spoil it for me, even though the 7th and 8th are excellent performances, albeit in a more conventional way than Symphonies 1-5 and most of the 6th. The 9th is the weakest performance in the set. The vocal quartet is eminently forgettable.
8, 9. 10/10 Shostakovich: CDs 4 & 5 of 5 CD Decca set of Shostakovich vocal music, consisting of one work---Lady Macbeth of Mtsensk District, Op. 29 (original 1932 version)---Myung-Whun Chung, cond., Orchestra and Chorus of l’Opera Bastille—Maria Ewing,--Katerina Izmailova, wife of Zinovi |Aage Haugland--Boris Izmailov, a merchant, and Katerina’s father in law |Philip Langridge, Zinovi Izmailov, a merchant, Katerina’s husband |Kristine Ciesiniski—Aksinya, the family cook |Sergei Larin—Sergei, a laborer |Margaret Jane Wray, Katorznica, a woman convict. Despite appearances, the story line has nothing to do with Shakespeare’s Macbeth, except that it has to do with a murderous woman. Here is Wikipedia’s plot summary @
http://en.wikipedia.org/wiki/Lady_Macbe ... ct_(opera)
Act 1
Scene 1. Katerina's room: Katerina is unhappily married to Zinovy, a provincial merchant. She complains to herself of her loneliness. Her father-in-law Boris says it is her fault for not producing an heir, but she blames her husband Zinovy for not being able to make her love him. Zinovy is called away on business, and Boris makes Katerina swear to be faithful. A servant, Aksinya, tells Katerina about the womanising new farm hand, Sergei.
Scene 2. The Ismailovs' yard: Sergei and his comrades have been teasing Aksinya. Katerina confronts him; they wrestle; she is thrown. When Boris appears, she says that she tripped.
Scene 3. Katerina's room: Katerina goes to bed. Sergei comes to borrow a book, then embraces her, and they make love.
Act 2
Scene 4. The yard: One night a week later, Boris sees Sergei climbing out of Katerina's window. He catches him and whips him as a thief, then has him locked up. Katerina gives him some poisoned mushrooms and as he is dying retrieves the keys to free Sergei.
Scene 5. Katerina's room: Katerina and Sergei are together. After he falls asleep, she sees Boris' ghost. Later she hears Zinovy returning. Although Sergei hides, Zinovy sees his clothing and guesses the truth. Together Katerina and Sergei kill Zinovy.
Act 3
Scene 6. Near the cellar: Katerina and Sergei prepare to get married. A peasant finds Zinovy's body in the cellar and goes to fetch the police.
Scene 7. The police station: The police complain about not being invited to the wedding. The peasant arrives and gives them the opportunity for revenge.
Scene 8. The Ismailov garden: Everyone is drunk at the wedding. Katerina sees that the cellar door is open, but the police arrive as she and Sergei are trying to escape.
Act 4
Scene 9. A temporary convict camp near a bridge: On the way to Siberia, Katerina bribes a guard to allow her to meet Sergei. He blames her for everything. After she leaves, Sergei tries to seduce another convict, Sonyetka. She demands a pair of stockings as her price. Sergei tricks Katerina into giving him hers, whereupon he gives them to Sonyetka. Sonyetka and the other convicts taunt Katerina, who pushes Sonyetka into a river and jumps in herself. They are swept away and the convict train moves on.
This is an excellent performance.
1, 2. 10/10 Bach, J.S.: Leipzig Chorales, S. 651-667 (1’24”16)—Bine Katrine Bryndorf, organ—hanssler 2 CD set, Vol. 97 of CBE.
3, 4, 5, 6, 7. 10/10 Beethoven: Complete Symphonies—David Zinman, cond. Tonhalle Orchestra Zurich, and, in 9th, Fritz Naf, chorusmaster, Schweizer Kammerchor, Ruth Ziesak, soprano, Birgit Remmart, alto, Steve Davislim, tenor, Detlef Roth, bass—Arte Nova 5 CD set—CD 1—Sym 1 in C Major, Op. 21 (23:47) |Sym 2 in D Major, Op. 36 (29:34). CD 2---Sym 3 in E Flat Major, Op. 55 “Eroica” (45:09) |Sym 4 in B Flat Major, Op. 60 (30:00). CD 3—Sym 5 in C Minor, Op. 65 (33:18 ) |Sym 6 in F Major, Op. 68 “Pastorale” (39:56) CD 4—Sym 7 in A Major, Op. 92 (37:26) |Sym 8 in F Major, Op 93 (23:00) CD 5—Sym 9 in D Minor, Op. 125 “Choral.” The CD times out at 72:34, but the symphony lasts only 58:42. The timing is longer because there is lots of recording of dead space, and mostly because there are two versions of the last 12:57 of the symphony recorded. Beethoven originally scored the symphony with a “general pause” in bar 747 just before the word “Bruder.” That version is recorded as an alternate version. I must say, I do not hear a general pause at all. I have no idea what Zinman is talking about here. Also, at some points, Zinman goes back to an older style of performance practice, by emphazing the word "Kuss" in the manner of Mengelberg and many others of his generation.
Now, for the set generally. I am not a musician and do not read music, so sometimes it is difficult for me to find the language to describe what I hear. But imagine you were listening to piano reductions of the symphonies. Most recordings would have lots of pedal in them, with notes lingering on for several seconds, even as the symphony proceeds with new music. In this set, there is little “pedal.” Notes and phrases are crisp, clipped, and clear, and, as a result, many inner voices, obscured in other versions, are brought to the fore. At least, that’s the way it us up through the 3rd movement of the 6th symphony. Then, in the 4th movement, the storm movement, where you would want some pedal, it happens. But it seems like, somehow, they keep going with the pedal, with much more conventionally drawn performances, in the 5th movement, and in the last three symphonies.
This is an excellent set, and I can understand the argument that it is now the standard by which others should be judged. But the change in styles really seems to spoil it for me, even though the 7th and 8th are excellent performances, albeit in a more conventional way than Symphonies 1-5 and most of the 6th. The 9th is the weakest performance in the set. The vocal quartet is eminently forgettable.
8, 9. 10/10 Shostakovich: CDs 4 & 5 of 5 CD Decca set of Shostakovich vocal music, consisting of one work---Lady Macbeth of Mtsensk District, Op. 29 (original 1932 version)---Myung-Whun Chung, cond., Orchestra and Chorus of l’Opera Bastille—Maria Ewing,--Katerina Izmailova, wife of Zinovi |Aage Haugland--Boris Izmailov, a merchant, and Katerina’s father in law |Philip Langridge, Zinovi Izmailov, a merchant, Katerina’s husband |Kristine Ciesiniski—Aksinya, the family cook |Sergei Larin—Sergei, a laborer |Margaret Jane Wray, Katorznica, a woman convict. Despite appearances, the story line has nothing to do with Shakespeare’s Macbeth, except that it has to do with a murderous woman. Here is Wikipedia’s plot summary @
http://en.wikipedia.org/wiki/Lady_Macbe ... ct_(opera)
Act 1
Scene 1. Katerina's room: Katerina is unhappily married to Zinovy, a provincial merchant. She complains to herself of her loneliness. Her father-in-law Boris says it is her fault for not producing an heir, but she blames her husband Zinovy for not being able to make her love him. Zinovy is called away on business, and Boris makes Katerina swear to be faithful. A servant, Aksinya, tells Katerina about the womanising new farm hand, Sergei.
Scene 2. The Ismailovs' yard: Sergei and his comrades have been teasing Aksinya. Katerina confronts him; they wrestle; she is thrown. When Boris appears, she says that she tripped.
Scene 3. Katerina's room: Katerina goes to bed. Sergei comes to borrow a book, then embraces her, and they make love.
Act 2
Scene 4. The yard: One night a week later, Boris sees Sergei climbing out of Katerina's window. He catches him and whips him as a thief, then has him locked up. Katerina gives him some poisoned mushrooms and as he is dying retrieves the keys to free Sergei.
Scene 5. Katerina's room: Katerina and Sergei are together. After he falls asleep, she sees Boris' ghost. Later she hears Zinovy returning. Although Sergei hides, Zinovy sees his clothing and guesses the truth. Together Katerina and Sergei kill Zinovy.
Act 3
Scene 6. Near the cellar: Katerina and Sergei prepare to get married. A peasant finds Zinovy's body in the cellar and goes to fetch the police.
Scene 7. The police station: The police complain about not being invited to the wedding. The peasant arrives and gives them the opportunity for revenge.
Scene 8. The Ismailov garden: Everyone is drunk at the wedding. Katerina sees that the cellar door is open, but the police arrive as she and Sergei are trying to escape.
Act 4
Scene 9. A temporary convict camp near a bridge: On the way to Siberia, Katerina bribes a guard to allow her to meet Sergei. He blames her for everything. After she leaves, Sergei tries to seduce another convict, Sonyetka. She demands a pair of stockings as her price. Sergei tricks Katerina into giving him hers, whereupon he gives them to Sonyetka. Sonyetka and the other convicts taunt Katerina, who pushes Sonyetka into a river and jumps in herself. They are swept away and the convict train moves on.
This is an excellent performance.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
What are you listening to today
Messiaen
Vingt Regards
Aimard
AWESOME....
Robert
Vingt Regards
Aimard
AWESOME....
Robert
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James
Faure's chamber music is of a consistent and very high quality...there isnt a single dud.
Refined, deeply personal, subtle, rich and warmly intimate creations. Very moving. Genius.
The late-period works in particular, for me, are the most profound, striking & beautiful...like;
Violin Sonata #2 Op. 108,
Cello Sonata Op. 109,
Piano Quintet #2 Op. 115,
Piano Trio Op. 120,
& the String Quartet Op. 121
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RebLem
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In the week ending Saturday, NOV 17, 2007, I listened to so little I am not going to do a complete report this week. Next week, I will submit a report for the fortnight.
But I will give a brief idea of what I have listened to. I listened to a hanssler CBE disc of Bach Cantatas, the first 2 of 5 discs in the Danel Quartet set of the Shostakovich string quartets (a generally disappointing 2 discs, considering the cartwheels some have turned over them, and 1 1/2 CDs of Schumann piano music by Earl Wild, also rather disappointing, so far. He is a virtuoso with formidable technique, but no real sense of subltety, it seems to me.
See you next week.
But I will give a brief idea of what I have listened to. I listened to a hanssler CBE disc of Bach Cantatas, the first 2 of 5 discs in the Danel Quartet set of the Shostakovich string quartets (a generally disappointing 2 discs, considering the cartwheels some have turned over them, and 1 1/2 CDs of Schumann piano music by Earl Wild, also rather disappointing, so far. He is a virtuoso with formidable technique, but no real sense of subltety, it seems to me.
See you next week.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
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arglebargle
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RebLem
- Posts: 9114
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OK, so I cheated a little. I listened to about 1.5 of these CDs on Sunday and included them in the previous week’s report. So, shoot me. In the 2 weeks ending Saturday, 24 NOV 2007, my official story is that I listened to the following:
1. 10/10 Bach, J.S: Cantatas 161 (30:37), 162 (16:36), 163 (16:53), & 164 (17:54)—Rilling, cond. usual suspects—hanssler CD, Vol. 49 of CBE.
2, 3. 10/10 Bach, J.S.: English Suites, S. 806—811—Robert Levin, modern piano—2 CD hanssler set, Vol. 113 of CBE. Very good performances, if you like Bach on a modern piano. Sensitive, not terribly metronomic, dynamic performances. Not recorded at the high level that most solo heyboard works in this series are.
4. 9/7 Schumann: Papillons, Op. 2 (13:57) |Piano Sonata 1 in F # Minor, Op. 11 (29:15} |Waldszenen, Op. 82—Earl Wild, piano. Live concert recordings from 1983 & 1987—Ivory Classics CD. Not recommended. Lots of background noise in the sonata, and restricted dynamic range in the Waldszenen, perhaps as a result of inferior recording equipment (?)
5. 9/10 Schumann: Toccata in C Major, Op. 7 (7:05), rec London 1974 |Etudes Symphoniques, Op. 13 (35:43}, complete, with 5 posthumous variations |Fantasie in C Major, Op. 17 (29:40), last two items rec 1990, Columbus, OH—Earl Wild, piano—Ivory Classics CD. Extraverted performances, displaying a formidable virtuoso technique, but little of Schumann’s brooding contemplativeness.
6. 10/10 Bargiel, Waldemar (1828-1897): Adagio for Cello & Orch. (7:05) |Schumann: Concerto in A Minor for Cello and Orch., Op. 129 (22:38 }, including the 1:45 revised cadenza and ending., + the 1:55 origiinal cadenza and ending,. |Offertorium from Mass in C Minor, Op. 147 |Fantasiestuecke for cello & piano, Op. 73 (10:57) |Adagio and Allegro for cello & piano in A Flat Major, Op, 70 (9:44) |Funf (5) Stuecke im Volkston for cello & piano, Op. 102 (15:29)—Deutsche Kammerphilharmonie (in concerto and Offertorium), Felicity Lott, soprano, David King, organ (in Offertorium), Christoph Eschenbach, cond and pianist, Steven Isserlis, cello—RCA CD. Waldemar Bargiel was Clara Schumann’s half-brother, and had an excellent reputation as a composer in his lifetime, fully justified, in my opinion, by the fine work recorded here. Excellent and idiomatic performances throughout.
7, 8, 9, 10, 11. 9/10 Shostakovich: Complete (15) String Quartets—Quatuor Danel. Marc Danel, violin 1 |Gilles Millet, violin 2 |Tony Nys, viola |Guy Danel, cello---5 Fuga Libera CD set. CD 1—SQ 2 in A Minor, Op. 68 (1944) (34:52) |SQ 7 in F # Minor, Op. 108 (1960) (12:30) |SQ 5 in F Flat Major, Op. 92 (1952) (32:16). CD 2---SQ 6 in G Major, Op. 101 (1956) (24:34) |SQ 3 in F Major, Op. 73 (1946) (31:59) |SQ 13 in B Flat Major, Op. 138 (1970) (21:43). CD 3---SQ 14 in F # Major, Op. 142 (1973) |SQ 8 in C Minor, Op. 110 (1960) (22:05) |SQ 12 in D Flat Major, Op. 133 (1968 ) (29:25). CD 4---SQ 4 in D Major, Op. 83 (1949) (25:33) |SQ 11 in F Minor, Op. 122 (1966) (16:56) |SQ 9 in E Flat Major, Op. 117 (1964) (27:27). CD 5---SQ 1 in C Major, Op. 49 (1938 ) (15:16) |SQ 10 in A Flat Major, Op. 118 (1964) (23:40) |SQ 15 in E Flat Minor, Op. 144 (1974) (38:35). The liner notes contain a misprint. The middle work on CD 5 is listed as “Quartet Nr. 10 in A-moll major, Op 118 (1964).” LOL. Of course, “A-moll major” is a contradiction in terms.
The set has excellent sound, recorded, as it was, in the 1990’s. No special bells or whistles, no especially deep bass, and no real sense of any acoustic ambience, but nevertheless and excellent recording. The interpretations are mostly excellent, but unremarkable. In most versions, the last quartet is pretty much unrelieved depression, and while there are those moments here, even long stretches, there are many sections where the composer seems to be seeing back to happier and more vigorous times.
This is my ninth complete set of the Shostakovich quartets, and I have no others in my possession pending a first audition. This Quatuor Danel version has been touted by many as the greatest. In that respect, it is, to my ears, a disappointment. I would rank my nine sets in three groups, and in a certain order as to general quality within each group, as follows.
Group A—Superb, the highest rating:
1. Shostakovich Quartet
2. St. Petersburg String Quartet
3. Borodin String Quartet
Group B---Excellent.
4. Manhattan String Quartet
5. Emerson String Quartet
6. Quatuor Danel
7. Rubio Quartet
Group C—Fair to middlin’
8. Fitzwilliam String Quartet
9. Brodsky Quartet
A special note. The Borodin String Quartet version is the only set here that is not in excellent sound. It is muffled and distant. Considered solely as performances and excluding sound considerations, it should be ranked ahead of the St. Petersburg, though not ahead of the Shostakovich Quartet. But I feel that as performances, the St. Petersburg is 98% of what the Borodin is, and far, far better in sound, and therefore, overall, the more satisfying aesthetic experience. Others may disagree.
So what’s up for next week? Mostly a continuation of my stack of Schumann CDs, mostly of solo piano works, and two versions of Gershwin’s Porgy and Bess—the full grand opera Simon Rattle version, and John Mauceri’s meticulous reconstruction of the original Broadway version. Then, there are 4 multi-composer CDs which I may dip into, and, of course, the ever present—for a while longer—J. S. Bach stack. Past those, for the weeks beyond this one, I hope to get to the Kondrashin set of the Shostakovich symphonies and the Craig Sheppard set of the Beethoven piano sonatas in, if not week after next, then at least before then end of 2007. I think I should probably be completely through the hanssler CBE by the end of the 1st quarter of 2008, at the latest. But, after that, I have a four or five inch stack of other J.S. Bach CDs from other labels, too, mostly from two sources—one is the Bach Choir of Bethlehem, PA, and the other is 2 boxes of 10 CDs each of all the Bach cantata recordings by the late Fritz Werner and the Pforzheim Chamber Orch.
1. 10/10 Bach, J.S: Cantatas 161 (30:37), 162 (16:36), 163 (16:53), & 164 (17:54)—Rilling, cond. usual suspects—hanssler CD, Vol. 49 of CBE.
2, 3. 10/10 Bach, J.S.: English Suites, S. 806—811—Robert Levin, modern piano—2 CD hanssler set, Vol. 113 of CBE. Very good performances, if you like Bach on a modern piano. Sensitive, not terribly metronomic, dynamic performances. Not recorded at the high level that most solo heyboard works in this series are.
4. 9/7 Schumann: Papillons, Op. 2 (13:57) |Piano Sonata 1 in F # Minor, Op. 11 (29:15} |Waldszenen, Op. 82—Earl Wild, piano. Live concert recordings from 1983 & 1987—Ivory Classics CD. Not recommended. Lots of background noise in the sonata, and restricted dynamic range in the Waldszenen, perhaps as a result of inferior recording equipment (?)
5. 9/10 Schumann: Toccata in C Major, Op. 7 (7:05), rec London 1974 |Etudes Symphoniques, Op. 13 (35:43}, complete, with 5 posthumous variations |Fantasie in C Major, Op. 17 (29:40), last two items rec 1990, Columbus, OH—Earl Wild, piano—Ivory Classics CD. Extraverted performances, displaying a formidable virtuoso technique, but little of Schumann’s brooding contemplativeness.
6. 10/10 Bargiel, Waldemar (1828-1897): Adagio for Cello & Orch. (7:05) |Schumann: Concerto in A Minor for Cello and Orch., Op. 129 (22:38 }, including the 1:45 revised cadenza and ending., + the 1:55 origiinal cadenza and ending,. |Offertorium from Mass in C Minor, Op. 147 |Fantasiestuecke for cello & piano, Op. 73 (10:57) |Adagio and Allegro for cello & piano in A Flat Major, Op, 70 (9:44) |Funf (5) Stuecke im Volkston for cello & piano, Op. 102 (15:29)—Deutsche Kammerphilharmonie (in concerto and Offertorium), Felicity Lott, soprano, David King, organ (in Offertorium), Christoph Eschenbach, cond and pianist, Steven Isserlis, cello—RCA CD. Waldemar Bargiel was Clara Schumann’s half-brother, and had an excellent reputation as a composer in his lifetime, fully justified, in my opinion, by the fine work recorded here. Excellent and idiomatic performances throughout.
7, 8, 9, 10, 11. 9/10 Shostakovich: Complete (15) String Quartets—Quatuor Danel. Marc Danel, violin 1 |Gilles Millet, violin 2 |Tony Nys, viola |Guy Danel, cello---5 Fuga Libera CD set. CD 1—SQ 2 in A Minor, Op. 68 (1944) (34:52) |SQ 7 in F # Minor, Op. 108 (1960) (12:30) |SQ 5 in F Flat Major, Op. 92 (1952) (32:16). CD 2---SQ 6 in G Major, Op. 101 (1956) (24:34) |SQ 3 in F Major, Op. 73 (1946) (31:59) |SQ 13 in B Flat Major, Op. 138 (1970) (21:43). CD 3---SQ 14 in F # Major, Op. 142 (1973) |SQ 8 in C Minor, Op. 110 (1960) (22:05) |SQ 12 in D Flat Major, Op. 133 (1968 ) (29:25). CD 4---SQ 4 in D Major, Op. 83 (1949) (25:33) |SQ 11 in F Minor, Op. 122 (1966) (16:56) |SQ 9 in E Flat Major, Op. 117 (1964) (27:27). CD 5---SQ 1 in C Major, Op. 49 (1938 ) (15:16) |SQ 10 in A Flat Major, Op. 118 (1964) (23:40) |SQ 15 in E Flat Minor, Op. 144 (1974) (38:35). The liner notes contain a misprint. The middle work on CD 5 is listed as “Quartet Nr. 10 in A-moll major, Op 118 (1964).” LOL. Of course, “A-moll major” is a contradiction in terms.
The set has excellent sound, recorded, as it was, in the 1990’s. No special bells or whistles, no especially deep bass, and no real sense of any acoustic ambience, but nevertheless and excellent recording. The interpretations are mostly excellent, but unremarkable. In most versions, the last quartet is pretty much unrelieved depression, and while there are those moments here, even long stretches, there are many sections where the composer seems to be seeing back to happier and more vigorous times.
This is my ninth complete set of the Shostakovich quartets, and I have no others in my possession pending a first audition. This Quatuor Danel version has been touted by many as the greatest. In that respect, it is, to my ears, a disappointment. I would rank my nine sets in three groups, and in a certain order as to general quality within each group, as follows.
Group A—Superb, the highest rating:
1. Shostakovich Quartet
2. St. Petersburg String Quartet
3. Borodin String Quartet
Group B---Excellent.
4. Manhattan String Quartet
5. Emerson String Quartet
6. Quatuor Danel
7. Rubio Quartet
Group C—Fair to middlin’
8. Fitzwilliam String Quartet
9. Brodsky Quartet
A special note. The Borodin String Quartet version is the only set here that is not in excellent sound. It is muffled and distant. Considered solely as performances and excluding sound considerations, it should be ranked ahead of the St. Petersburg, though not ahead of the Shostakovich Quartet. But I feel that as performances, the St. Petersburg is 98% of what the Borodin is, and far, far better in sound, and therefore, overall, the more satisfying aesthetic experience. Others may disagree.
So what’s up for next week? Mostly a continuation of my stack of Schumann CDs, mostly of solo piano works, and two versions of Gershwin’s Porgy and Bess—the full grand opera Simon Rattle version, and John Mauceri’s meticulous reconstruction of the original Broadway version. Then, there are 4 multi-composer CDs which I may dip into, and, of course, the ever present—for a while longer—J. S. Bach stack. Past those, for the weeks beyond this one, I hope to get to the Kondrashin set of the Shostakovich symphonies and the Craig Sheppard set of the Beethoven piano sonatas in, if not week after next, then at least before then end of 2007. I think I should probably be completely through the hanssler CBE by the end of the 1st quarter of 2008, at the latest. But, after that, I have a four or five inch stack of other J.S. Bach CDs from other labels, too, mostly from two sources—one is the Bach Choir of Bethlehem, PA, and the other is 2 boxes of 10 CDs each of all the Bach cantata recordings by the late Fritz Werner and the Pforzheim Chamber Orch.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
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Chalkperson
- Disposable Income Specialist
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I don't have the St Petersberg, Danel or Rubio sets but I do have the Beethoven Quartet and the Sorrel Quartet both of which are my favorites and one being Modern and the other Ancient I would score them both as Superb...also two Quartets have both just started cycles, The Jerusalem and the Manderling, both are worth checking out...RebLem wrote:This is my ninth complete set of the Shostakovich quartets, and I have no others in my possession pending a first audition. This Quatuor Danel version has been touted by many as the greatest. In that respect, it is, to my ears, a disappointment. I would rank my nine sets in three groups, and in a certain order as to general quality within each group, as follows.
Group A—Superb, the highest rating:
1. Shostakovich Quartet
2. St. Petersburg String Quartet
3. Borodin String Quartet
Group B---Excellent.
4. Manhattan String Quartet
5. Emerson String Quartet
6. Quatuor Danel
7. Rubio Quartet
Group C—Fair to middlin’
8. Fitzwilliam String Quartet
9. Brodsky Quartet
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RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the 2 weeks ending Saturday, 8 DEC 2007, my official story is that I listened to the following:
1. 10/10 Bach, J.S: Cantatas 165 (12:58 ), 166 (16:44), 167 (18:00), 168 (16:29)—Rilling, cond. usual suspects—hanssler CD, Vol. 50 of CBE.
2. 10/10 Schumann: Carnaval, Op. 9 (33:37) |Faschingsshwank aus Wien, Op 26 (24:06)—Arturo Benedetti Michelangeli, piano—Aura CD. Fine performances, esp. of the Op. 26.
3. 9/10 Schumann: Etudes Symphoniques, Op. 13 (33:58 ) |Bunte Blatter, Op. 99 (33:11) |Fantasiestucke, Op 12 (6:44)—Sviatoslav Richter, piano—Regis CD. Op. 12 recorded live in public performance in Tokyo 1979. Others are 1971 studio recordings. Superb performances, highly recommended.
4,5,6. 10/10 Gershwin: Porgy and Bess, Opera in 3 Acts (complete) (3:09:34)—Simon Rattle, cond. London Phil, Glyndebourne Chorus, Willard White (Porgy), Cynthia Haymon (Bess), Harolyn Blackwell (Clara), Damon Evans (Sporting Life), Bruce Hubbard (Jake), Cynthia Clarey (Serena), Marietta Simpson (Maria), Gregg Baker (Crown)—3 CD EMI GROC set, recorded 1988.
7,8. 10/10 Gershwin: Porgy and Bess (Restored Original 1935 Broadway production version) (1:24:55)---John Mauceri, cond. & reconstructor, Nashville Sym Orch. & Cho, Blair Childrens Chorus members, Tennessee State Univ. Band members, Alvy Powell, (Porgy), Marquita Lister (Bess), Nicole Cabell (Clara), Robert Mack (Sporting Life), Leonard Rowe (Jake), Monique McDonald (Serena), Linda Thompson Williams (Maria), Lester Lynch (Crown)---2 MHS CD set, lic from Decca, recorded 2006.
Ever since its appearance, the Rattle recording has been the gold standard for Porgy and Bess performances. It is the first complete recorded performance of the whole opera, and, to the best of my knowledge, still the only one. But this work is a jazz opera, and strings tend, in too many places, to overwhelm the brass, the woodwinds, and the singers. Certainly, if you liked Karajan’s Ring cycle, you’ll love this.
Enter John Mauceri, one of the few classical artists who makes the term “crossover” respectable, in my opinion. A protégé of Leonard Bernstein, he has held a number of music directorships in opera houses in the US, Italy, and Britain. But he has also shown a deep interest in the music of the Broadway stage. He reconstructed the original cast performances from musical materials in the Yale Library, to which Gershwin willed his manuscripts and other musical documents. He was, perhaps, the ideal person for this job, one well worth performing. This is the first recording of the restored original Broadway performances, with cuts authorized by Gershwin himself. And, of course, the cuts were not only of some parts of the opera, but involved reduced string forces as well. Mauceri never lets the strings or other instruments overwhelm the efforts of the singers. Enunciation here is near perfect, and forward, and clearly understood in a way which the Rattle performance is not. Although I admire the refinement and high art of the Rattle recording, and in particular the fact that it is indispensable as the only complete recorded performance, Mauceri’s recording has much to recommend it. It has a visceral excitement and sense of occasion that seems lacking in the Rattle, despite a few intonation problems, esp. in Act 1. And the acting here is superb as well. The bottom line is that both versions are indispensable for Gershwin aficionados. I would love to her what Mauceri could do with a complete performance, but with the reduced string forces he uses here. This is, after all, a jazz opera.
1. 10/10 Bach, J.S: Cantatas 165 (12:58 ), 166 (16:44), 167 (18:00), 168 (16:29)—Rilling, cond. usual suspects—hanssler CD, Vol. 50 of CBE.
2. 10/10 Schumann: Carnaval, Op. 9 (33:37) |Faschingsshwank aus Wien, Op 26 (24:06)—Arturo Benedetti Michelangeli, piano—Aura CD. Fine performances, esp. of the Op. 26.
3. 9/10 Schumann: Etudes Symphoniques, Op. 13 (33:58 ) |Bunte Blatter, Op. 99 (33:11) |Fantasiestucke, Op 12 (6:44)—Sviatoslav Richter, piano—Regis CD. Op. 12 recorded live in public performance in Tokyo 1979. Others are 1971 studio recordings. Superb performances, highly recommended.
4,5,6. 10/10 Gershwin: Porgy and Bess, Opera in 3 Acts (complete) (3:09:34)—Simon Rattle, cond. London Phil, Glyndebourne Chorus, Willard White (Porgy), Cynthia Haymon (Bess), Harolyn Blackwell (Clara), Damon Evans (Sporting Life), Bruce Hubbard (Jake), Cynthia Clarey (Serena), Marietta Simpson (Maria), Gregg Baker (Crown)—3 CD EMI GROC set, recorded 1988.
7,8. 10/10 Gershwin: Porgy and Bess (Restored Original 1935 Broadway production version) (1:24:55)---John Mauceri, cond. & reconstructor, Nashville Sym Orch. & Cho, Blair Childrens Chorus members, Tennessee State Univ. Band members, Alvy Powell, (Porgy), Marquita Lister (Bess), Nicole Cabell (Clara), Robert Mack (Sporting Life), Leonard Rowe (Jake), Monique McDonald (Serena), Linda Thompson Williams (Maria), Lester Lynch (Crown)---2 MHS CD set, lic from Decca, recorded 2006.
Ever since its appearance, the Rattle recording has been the gold standard for Porgy and Bess performances. It is the first complete recorded performance of the whole opera, and, to the best of my knowledge, still the only one. But this work is a jazz opera, and strings tend, in too many places, to overwhelm the brass, the woodwinds, and the singers. Certainly, if you liked Karajan’s Ring cycle, you’ll love this.
Enter John Mauceri, one of the few classical artists who makes the term “crossover” respectable, in my opinion. A protégé of Leonard Bernstein, he has held a number of music directorships in opera houses in the US, Italy, and Britain. But he has also shown a deep interest in the music of the Broadway stage. He reconstructed the original cast performances from musical materials in the Yale Library, to which Gershwin willed his manuscripts and other musical documents. He was, perhaps, the ideal person for this job, one well worth performing. This is the first recording of the restored original Broadway performances, with cuts authorized by Gershwin himself. And, of course, the cuts were not only of some parts of the opera, but involved reduced string forces as well. Mauceri never lets the strings or other instruments overwhelm the efforts of the singers. Enunciation here is near perfect, and forward, and clearly understood in a way which the Rattle performance is not. Although I admire the refinement and high art of the Rattle recording, and in particular the fact that it is indispensable as the only complete recorded performance, Mauceri’s recording has much to recommend it. It has a visceral excitement and sense of occasion that seems lacking in the Rattle, despite a few intonation problems, esp. in Act 1. And the acting here is superb as well. The bottom line is that both versions are indispensable for Gershwin aficionados. I would love to her what Mauceri could do with a complete performance, but with the reduced string forces he uses here. This is, after all, a jazz opera.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
-
RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the period from Sunday, 9 DEC 2007 through Saturday, 12 JAN 2008, I didn’t listen to very much, only 22 CDs, consisting of 3 different issues, as follows:
1. Bach, J.S: Klavierbuechlein for W. F. Bach (2’02:33)—Joseph Payne, harpsichord, clavichord, organ--2 CD hanssler set, Vol. 137 of CBE, rec. 2 & 3/1999.
2. Beethoven: Piano Sonatas (32—complete)—Craig Sheppard, piano—Romeo Records 9 CD set recorded live in a series of 7 public concerts @ Meany Hall, Seattle, Washington from 7 JAN 2003---18 MAY 2004. www.romeorecords.com www.craigsheppard.net Craig Sheppard is a piano pedagogue on the faculty of the University of Washington/Seattle in addition to being a fine concert pianist. The set consists of 4 two-CD jewel boxes plus one additional single CD jewel box, all contained, with a 23 page booklet of consisting mostly of essays on each of the sonatas by Prof. Sheppard. His teachers and mentors, in both institutional and less formal settings, have included Eleanor Sokoloff, Sasha Gorodnitzki, Claude Frank, Lillian Kallir, Ilona Kabos, Peter Feuchtwanger, Sir Clifford Curzon, and Rudolf Serkin.
I found this to be one of the better sets available. I consider only two sets that I own, the Annie Fischer and the stereo Wilhelm Kempff, to be superior overall to this one. It is, generally, on a par with some of my mid-ranked sets, like the Gulda, up to # 21, the Waldstein, but beginning with the Waldstein on CD 6 (of 9) things very decidedly, IMO, pick up. From that point on, his performances are more poetic, imaginative, and masterful. A highly recommended set, along with the Annie Fischer and the partial set by Bruce Hungerford, especially Hungerford’s 2 CD set containing most of the most popular sonatas.
3. Shostakovich: Symphonies (15---complete +)---K Kondrashin, cond. Moscow Philharmonic Symphony Orchestra, recorded 1965-1975—11 CD Melodiya set.
CD 1—Sym 1 in F Minor, Op 10 (22:01) |Sym 2 in B Major, Op 14 “To October” (verses: A Bezymensky) (16:46) |Sym 3 for orchestra & choir in E Flat Major, Op 20 “The First of May” (Verses: S Kirsanov)(26:20)—Russian State Chapel Choral, Alexander Yurlov, choir master, 2 & 3. Recorded 1973.
CD 2---Sym 4 in C Minor, Op. 43 (59:59) |October, symphonic poem, Op. 131 (12:43). Rec 1966.
CD 3---Sym 5 in D Minor, Op. 47 (41:54) |Sym 6 in B Minor, Op. 54 (26:29)—Rec 1967.
CD 4---Sym 7 in C Major, Op 60 “Leningrad”(71:10)—Rec 1975.
CD 5---Sym 8 in C Minor, Op. 65 (56:29) |The Sun Shines on Our Motherland Cantata, Op 90 (Words: Y Dolmatovsky)(12:13)—Boys Choir of the Moscow Choral College, Russian State Chapel Choral, Alexander Yurlov, choir master (in Cantata)—Rec. 1967.
CD 6---Sym 9 in E Flat Major, Op. 70 (24:14) |Sym 10 in E Minor, Op. 93 (48:48 )—Rec 1965.
CD 7---Sym 11 in G Minor,Op. 103 (1905) (53:53)—Rec. 1973
CD 8---Sym 12 in D Minor, Op. 112 “1917” (In memory of V.I. Lenin) (36:25) Rec. 1974. |The Execution of Stepan Razin, symphonic poem, Op. 119 (Verses: Y. Yevtushenko) (27:38 )—Russian State Chapel Choral, A. Yurlov, cho master. Rec. 1965.
CD 9---Sym 13 for bass soloist, choir of basses, & symphony orch in B Flat Minor, Op. 113 “Babi Yar” (54:07)—Artur Eizen, bass, Bass group of the Russian State Chapel Choral, A. Yurlov, cho. Master. Rec 1967.
CD 10---Sym 14 for soprano, bass, & chamber orch, Op 135 on poems by Federico Garcia Lorca, Guillaume Appolinaire, Wilhem Kuchelbecker, & Reiner Maria Rilke in Russian translation—Yevgenia Tselvalnik, soprano, Yevgeni Nesterenko, bass, Ensemble of soloists of the Moscow Phil Sym Orch. Rec. 1974.
CD 11---Sym 15 in A Major, Op. 141 (40:30) Rec. 1974. |Violin Concerto 2 in C# Minor, Op. 129 (29:35)—David Oistrakh, violin. Rec. 1967.
Overall, I would say the Kondrashin set is the preferred set of the Shostakovich symphonies. For years, I had heard that the performances were great, but that the sound left something to be desired. Such is not the case. The sound is magnificent, perhaps, occasionally, a bit too bright and closely miked. Kondrashin is especially outstanding, in my view, in the Syms 11-15 and in the Execution of Stepan Razin. I would also say that the Barshai set on Brilliant and the Maxim Shostakovich set on Supraphon are indispensable. The others are, except for a few individual performances from other sets, though I will be interested to hear the Gergiev and Bychkov sets when they are complete. Like Maxim Shostakovich, he takes the 7th a little differently from others. Usually, in the first movement, right after the idyllic pastoral introduction, there is a jaunty, but upbeat martial theme depicting the initial phases of the German invasion of Russia. But, at a certain point, when people begin to realize that this is a terribly oppressive force and not the liberation they had hoped, one usually hears a rather sudden cataclysmic dissonance coupled with a great increase in volume. But Kondrashin and Maxim both take this as a gradual phasing in, not a sudden realization. I would be interested to hear from Maxim whether he learned this approach from his own analysis, or from Kondrashin, or from his father.
Well, forever onward. On my shelf of things to be listened to in the immediate future, there are 3 stacks. In the middle, of course, is a hanssler Bach CBE stack. To its left is a stack of 6 Schumann CDs, and to its left, a stack of 4 multi-composer CDs.
1. Bach, J.S: Klavierbuechlein for W. F. Bach (2’02:33)—Joseph Payne, harpsichord, clavichord, organ--2 CD hanssler set, Vol. 137 of CBE, rec. 2 & 3/1999.
2. Beethoven: Piano Sonatas (32—complete)—Craig Sheppard, piano—Romeo Records 9 CD set recorded live in a series of 7 public concerts @ Meany Hall, Seattle, Washington from 7 JAN 2003---18 MAY 2004. www.romeorecords.com www.craigsheppard.net Craig Sheppard is a piano pedagogue on the faculty of the University of Washington/Seattle in addition to being a fine concert pianist. The set consists of 4 two-CD jewel boxes plus one additional single CD jewel box, all contained, with a 23 page booklet of consisting mostly of essays on each of the sonatas by Prof. Sheppard. His teachers and mentors, in both institutional and less formal settings, have included Eleanor Sokoloff, Sasha Gorodnitzki, Claude Frank, Lillian Kallir, Ilona Kabos, Peter Feuchtwanger, Sir Clifford Curzon, and Rudolf Serkin.
I found this to be one of the better sets available. I consider only two sets that I own, the Annie Fischer and the stereo Wilhelm Kempff, to be superior overall to this one. It is, generally, on a par with some of my mid-ranked sets, like the Gulda, up to # 21, the Waldstein, but beginning with the Waldstein on CD 6 (of 9) things very decidedly, IMO, pick up. From that point on, his performances are more poetic, imaginative, and masterful. A highly recommended set, along with the Annie Fischer and the partial set by Bruce Hungerford, especially Hungerford’s 2 CD set containing most of the most popular sonatas.
3. Shostakovich: Symphonies (15---complete +)---K Kondrashin, cond. Moscow Philharmonic Symphony Orchestra, recorded 1965-1975—11 CD Melodiya set.
CD 1—Sym 1 in F Minor, Op 10 (22:01) |Sym 2 in B Major, Op 14 “To October” (verses: A Bezymensky) (16:46) |Sym 3 for orchestra & choir in E Flat Major, Op 20 “The First of May” (Verses: S Kirsanov)(26:20)—Russian State Chapel Choral, Alexander Yurlov, choir master, 2 & 3. Recorded 1973.
CD 2---Sym 4 in C Minor, Op. 43 (59:59) |October, symphonic poem, Op. 131 (12:43). Rec 1966.
CD 3---Sym 5 in D Minor, Op. 47 (41:54) |Sym 6 in B Minor, Op. 54 (26:29)—Rec 1967.
CD 4---Sym 7 in C Major, Op 60 “Leningrad”(71:10)—Rec 1975.
CD 5---Sym 8 in C Minor, Op. 65 (56:29) |The Sun Shines on Our Motherland Cantata, Op 90 (Words: Y Dolmatovsky)(12:13)—Boys Choir of the Moscow Choral College, Russian State Chapel Choral, Alexander Yurlov, choir master (in Cantata)—Rec. 1967.
CD 6---Sym 9 in E Flat Major, Op. 70 (24:14) |Sym 10 in E Minor, Op. 93 (48:48 )—Rec 1965.
CD 7---Sym 11 in G Minor,Op. 103 (1905) (53:53)—Rec. 1973
CD 8---Sym 12 in D Minor, Op. 112 “1917” (In memory of V.I. Lenin) (36:25) Rec. 1974. |The Execution of Stepan Razin, symphonic poem, Op. 119 (Verses: Y. Yevtushenko) (27:38 )—Russian State Chapel Choral, A. Yurlov, cho master. Rec. 1965.
CD 9---Sym 13 for bass soloist, choir of basses, & symphony orch in B Flat Minor, Op. 113 “Babi Yar” (54:07)—Artur Eizen, bass, Bass group of the Russian State Chapel Choral, A. Yurlov, cho. Master. Rec 1967.
CD 10---Sym 14 for soprano, bass, & chamber orch, Op 135 on poems by Federico Garcia Lorca, Guillaume Appolinaire, Wilhem Kuchelbecker, & Reiner Maria Rilke in Russian translation—Yevgenia Tselvalnik, soprano, Yevgeni Nesterenko, bass, Ensemble of soloists of the Moscow Phil Sym Orch. Rec. 1974.
CD 11---Sym 15 in A Major, Op. 141 (40:30) Rec. 1974. |Violin Concerto 2 in C# Minor, Op. 129 (29:35)—David Oistrakh, violin. Rec. 1967.
Overall, I would say the Kondrashin set is the preferred set of the Shostakovich symphonies. For years, I had heard that the performances were great, but that the sound left something to be desired. Such is not the case. The sound is magnificent, perhaps, occasionally, a bit too bright and closely miked. Kondrashin is especially outstanding, in my view, in the Syms 11-15 and in the Execution of Stepan Razin. I would also say that the Barshai set on Brilliant and the Maxim Shostakovich set on Supraphon are indispensable. The others are, except for a few individual performances from other sets, though I will be interested to hear the Gergiev and Bychkov sets when they are complete. Like Maxim Shostakovich, he takes the 7th a little differently from others. Usually, in the first movement, right after the idyllic pastoral introduction, there is a jaunty, but upbeat martial theme depicting the initial phases of the German invasion of Russia. But, at a certain point, when people begin to realize that this is a terribly oppressive force and not the liberation they had hoped, one usually hears a rather sudden cataclysmic dissonance coupled with a great increase in volume. But Kondrashin and Maxim both take this as a gradual phasing in, not a sudden realization. I would be interested to hear from Maxim whether he learned this approach from his own analysis, or from Kondrashin, or from his father.
Well, forever onward. On my shelf of things to be listened to in the immediate future, there are 3 stacks. In the middle, of course, is a hanssler Bach CBE stack. To its left is a stack of 6 Schumann CDs, and to its left, a stack of 4 multi-composer CDs.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
-
RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the week ending Saturday, 19 JAN 2008, I listened to the following:
1. Bach, J.S: Cantatas 169 (23:37), 170 (23:12), & 171 (15:40)---Rilling, cond. usual suspects---hanssler CD Vol. 51 of CBE, rec 1982-3. Excellent performances.
2. Bach, J.S.: Cantatas 172 (16:41), 173 (15:43), 174 (22:14), & 175 (15:34)---Rilling, cond. usual suspects---hanssler CD Vol 52 of CBE, rec. 1975-1984. Excellent performances.
3. Bach, J.S.: 15 Organ works influenced by cantatas, concerti, and chamber music---Bine Katrine Bryndorf, organ @ Garnison Church, Copenhagen---hanssler CD, Vol. 98 of CBE, rec. 1/1999. Excellent performances of occasionally inspiring works.
4. Schumann: Carnaval, Op. 9 (26:47) |Etudes symphoniques, Op. 13 (22:54) |Kreisleriana, Op. 16 (28:13)—Geza Anda, piano—rec. 1954-5, Classico CD. Great performances, sublte and warm.
5. Schumann: ABEGG theme, from Op. 1 (6:55) |Novelletten, Op. 21 (46:13) |Drei Fathasiestuecke, Op. 111 (10:22)---Kotaro Fukuma, piano---Naxos CD 8.557668. This CD is part of the Naxos Laureate Series, recording prize winning young artists. Fukuma was born in Tokyo in 1982, and won First Prize @ the 2003 Cleveland International Piano Competition, in addition to a number of other prizes. These are wonderfully warm and nuanced performances by an artist with a great future. Highly recommended.
6. Twentieth Century Harpsichord Music, Vol. 1---Barbara Harbach, harpsichord---Gasparo GSCD-251. Martinu: Complete solo harpsichord works---Deux pieces pour clavecin (5:37), Sonate pour clavecin (5:02), Deux impromptus pour clavecin (3:13) |Virgil Thomson: Four Portraits (7:46) |Persichetti: Harpsichord Sonata #7, Op. 156 (6:55) |William Albright: Four Fancies for Harpsichord (11:23) |Samuel Adler: Sonata for Harpsichord (12:07) |Rick Sowash: The Unicorn (8:10), Theme with six variations (6:25) |Alec Templeton: Bach Goes to Town (3:48 ).
I bought this CD from the website of one of the composers featured, Rick Sowash http://www.sowash.com/ He is a composer, children’s writer, and politician from southern Ohio near Cincinnati, brought to my attention by Harold Tucker a number of months ago. Ms. Harbach is a fine harpsichordist (and organist), a music professor at the Univ of Wisconsin, Oshkosh. Without knowing how to read music or much of the language of performance, it is difficult for me to describe this record. But I did take a few, short notes on some of the pieces. The 4th of Virgil Thomson’s Portraits is based on a number of folk songs, some of which I think I didn’t detect, but the three I did were Yankee Doodle, Frere Jacques, and the Shaker song, Simple Gifts. The 4th of Albright’s Fancies has lots of energy and a very strong, often overpowering bass line with a pronounced minimalist influence. It is reminiscent, at times, of repetitive calliope music. The Sowash works are based on simple but affecting melodies and variations, and the Templeton piece has some interesting syncopated rhythms. Highly recommended.
1. Bach, J.S: Cantatas 169 (23:37), 170 (23:12), & 171 (15:40)---Rilling, cond. usual suspects---hanssler CD Vol. 51 of CBE, rec 1982-3. Excellent performances.
2. Bach, J.S.: Cantatas 172 (16:41), 173 (15:43), 174 (22:14), & 175 (15:34)---Rilling, cond. usual suspects---hanssler CD Vol 52 of CBE, rec. 1975-1984. Excellent performances.
3. Bach, J.S.: 15 Organ works influenced by cantatas, concerti, and chamber music---Bine Katrine Bryndorf, organ @ Garnison Church, Copenhagen---hanssler CD, Vol. 98 of CBE, rec. 1/1999. Excellent performances of occasionally inspiring works.
4. Schumann: Carnaval, Op. 9 (26:47) |Etudes symphoniques, Op. 13 (22:54) |Kreisleriana, Op. 16 (28:13)—Geza Anda, piano—rec. 1954-5, Classico CD. Great performances, sublte and warm.
5. Schumann: ABEGG theme, from Op. 1 (6:55) |Novelletten, Op. 21 (46:13) |Drei Fathasiestuecke, Op. 111 (10:22)---Kotaro Fukuma, piano---Naxos CD 8.557668. This CD is part of the Naxos Laureate Series, recording prize winning young artists. Fukuma was born in Tokyo in 1982, and won First Prize @ the 2003 Cleveland International Piano Competition, in addition to a number of other prizes. These are wonderfully warm and nuanced performances by an artist with a great future. Highly recommended.
6. Twentieth Century Harpsichord Music, Vol. 1---Barbara Harbach, harpsichord---Gasparo GSCD-251. Martinu: Complete solo harpsichord works---Deux pieces pour clavecin (5:37), Sonate pour clavecin (5:02), Deux impromptus pour clavecin (3:13) |Virgil Thomson: Four Portraits (7:46) |Persichetti: Harpsichord Sonata #7, Op. 156 (6:55) |William Albright: Four Fancies for Harpsichord (11:23) |Samuel Adler: Sonata for Harpsichord (12:07) |Rick Sowash: The Unicorn (8:10), Theme with six variations (6:25) |Alec Templeton: Bach Goes to Town (3:48 ).
I bought this CD from the website of one of the composers featured, Rick Sowash http://www.sowash.com/ He is a composer, children’s writer, and politician from southern Ohio near Cincinnati, brought to my attention by Harold Tucker a number of months ago. Ms. Harbach is a fine harpsichordist (and organist), a music professor at the Univ of Wisconsin, Oshkosh. Without knowing how to read music or much of the language of performance, it is difficult for me to describe this record. But I did take a few, short notes on some of the pieces. The 4th of Virgil Thomson’s Portraits is based on a number of folk songs, some of which I think I didn’t detect, but the three I did were Yankee Doodle, Frere Jacques, and the Shaker song, Simple Gifts. The 4th of Albright’s Fancies has lots of energy and a very strong, often overpowering bass line with a pronounced minimalist influence. It is reminiscent, at times, of repetitive calliope music. The Sowash works are based on simple but affecting melodies and variations, and the Templeton piece has some interesting syncopated rhythms. Highly recommended.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
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Lance
- Site Administrator
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I don't believe we have ever had a post with almost 230,000 views. That's pretty incredible.
Lance G. Hill
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
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karlhenning
- Composer-in-Residence
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And now, a 54-year-old antique:
Wolpe
Piece for Oboe, Cello, Percussion & Piano (1954)
Cheers,
~Karl
Wolpe
Piece for Oboe, Cello, Percussion & Piano (1954)
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
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Wallingford
- Posts: 4687
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- Location: Brush, Colorado
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RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the week ending Saturday, 26 JAN 2008, I listened to only 4 CDs, such is my obsession with political & election year programming on MSNBC, CNN, and CSPAN, particularly. Anyway, here they are--
1. Bach, J.S: Cantatas 176 (13:04), 177 (26:22), & 178 (22:36)---Rilling, cond. usual suspects---hanssler CD Vol. 53 of CBE, Chorales rec 1998, organ 1999. Excellent performance.
2. Bach, J.S.: Deutsche Messe (70:33)---Rilling, cond. Gachinger Kantorei, Bach-Collegium Stuttgart, Gerhard Gnann, organ---hanssler CD Vol 81 of CBE, rec. 1975-1984. Excellent performances.
3. Schumann: Piano Sonata 1in F Sharp Minor, Op. 11 (34:13) |Piano Sonata 2 in F Minor, Op. 14 (32:59)—Nikolai Demidenko, piano—hyperion CD. The second sonata has an interesting and slightly convoluted history. And here, I liberally paraphrase, even quote, from the liner notes.
Schumann did most of the work on the PS 2 in the summer of 1836. It originally consisted of 5 movements, with the third being “a set of variations on an ‘Andantino de Clara Wieck’, but the 5 note descending scale with which her theme began permeated other sections of the work, too—not least the main theme of the opening movement.” The variations were framed by two scherzos. Schumann’s publisher, Tobias Haslinger, influenced him to drop the scherzos, but it became generally known, and critics supported Schumann’s original intention, so he revised the work in 1853 and republished it.
He restored the second scherzo, “and renoted the Finale, changing its time signature from 6/16 to a more conventional 2/4….{He} …also retouched the opening movement, making occasional changes to its texture, rhythm, and even harmony. This is perhaps his only piano work in which the revision is patently superior to the original, and …Demidenko has generally followed it for this recording. He has, however,…retained the sustained chord that follows the flurry of semiquaver activity in the sonata’s opening bars. The revised version has a straightforward chord of C Major here, but Schumann originally wrote a dischord which propels the succeeding musical argument with greater force and intensity.” And, whereas the standard revised version eliminates the first of the two original scherzos, Dimidemko retains it, in its original place as the second movement. In addition, the theme and variations were greatly expanded for the 1853 version, and are presented here.
Mr. Demidenko is a superb and sublte pianist; these are wonderful, sensitive performances. Highly recommended.
4. Songs of Humor and Satire, an album of novelty songs sung and played by the Gregg Smith Singers and associated performers; indeed, the album was produced by Gregg Smith—1 Premier Recordings CD. Kurt Weill (1900-1950): Ho, Billy, O! (5:22) |Robert Ross (b. 1955): Departmental (4:37) |Rick Sowash (b. 1950): Philosophical Anecdotes (8:30) |Irving Fine( 1914-1962): The Choral New Yorker (17:10) |Jack Gottlieb (b 1930): Presidential Suite (14:09) |George Gershwin (1898-1937): Two Madrigals (4:12) |Gian Carlo Menotti (1911-2007):Moans, Groans, Cries, and Sighs (10:45) |Gregg Smith (1931): Mark Twain Cantata (10:42) |Charles Ives (1874-1954): Vote for Names (1:05)—these are novelty songs, very funny, occasionally satirical. Recommended.
So, what's for next week and beyond? Well, there's still 2 CDs in the multi-composer stack below that, and I have added three more suchlike as well as five other single composer CDs of music from minor classical and pre-classical composers like Boyce, Cherubini, and Pleyel. Then there is the Bach stackm and 3 more Schumann CDs left, of course. Underneath the Schumann mini-stack, I've put the 6 CD Hungaroton set of the complete Bartok chamber music.
1. Bach, J.S: Cantatas 176 (13:04), 177 (26:22), & 178 (22:36)---Rilling, cond. usual suspects---hanssler CD Vol. 53 of CBE, Chorales rec 1998, organ 1999. Excellent performance.
2. Bach, J.S.: Deutsche Messe (70:33)---Rilling, cond. Gachinger Kantorei, Bach-Collegium Stuttgart, Gerhard Gnann, organ---hanssler CD Vol 81 of CBE, rec. 1975-1984. Excellent performances.
3. Schumann: Piano Sonata 1in F Sharp Minor, Op. 11 (34:13) |Piano Sonata 2 in F Minor, Op. 14 (32:59)—Nikolai Demidenko, piano—hyperion CD. The second sonata has an interesting and slightly convoluted history. And here, I liberally paraphrase, even quote, from the liner notes.
Schumann did most of the work on the PS 2 in the summer of 1836. It originally consisted of 5 movements, with the third being “a set of variations on an ‘Andantino de Clara Wieck’, but the 5 note descending scale with which her theme began permeated other sections of the work, too—not least the main theme of the opening movement.” The variations were framed by two scherzos. Schumann’s publisher, Tobias Haslinger, influenced him to drop the scherzos, but it became generally known, and critics supported Schumann’s original intention, so he revised the work in 1853 and republished it.
He restored the second scherzo, “and renoted the Finale, changing its time signature from 6/16 to a more conventional 2/4….{He} …also retouched the opening movement, making occasional changes to its texture, rhythm, and even harmony. This is perhaps his only piano work in which the revision is patently superior to the original, and …Demidenko has generally followed it for this recording. He has, however,…retained the sustained chord that follows the flurry of semiquaver activity in the sonata’s opening bars. The revised version has a straightforward chord of C Major here, but Schumann originally wrote a dischord which propels the succeeding musical argument with greater force and intensity.” And, whereas the standard revised version eliminates the first of the two original scherzos, Dimidemko retains it, in its original place as the second movement. In addition, the theme and variations were greatly expanded for the 1853 version, and are presented here.
Mr. Demidenko is a superb and sublte pianist; these are wonderful, sensitive performances. Highly recommended.
4. Songs of Humor and Satire, an album of novelty songs sung and played by the Gregg Smith Singers and associated performers; indeed, the album was produced by Gregg Smith—1 Premier Recordings CD. Kurt Weill (1900-1950): Ho, Billy, O! (5:22) |Robert Ross (b. 1955): Departmental (4:37) |Rick Sowash (b. 1950): Philosophical Anecdotes (8:30) |Irving Fine( 1914-1962): The Choral New Yorker (17:10) |Jack Gottlieb (b 1930): Presidential Suite (14:09) |George Gershwin (1898-1937): Two Madrigals (4:12) |Gian Carlo Menotti (1911-2007):Moans, Groans, Cries, and Sighs (10:45) |Gregg Smith (1931): Mark Twain Cantata (10:42) |Charles Ives (1874-1954): Vote for Names (1:05)—these are novelty songs, very funny, occasionally satirical. Recommended.
So, what's for next week and beyond? Well, there's still 2 CDs in the multi-composer stack below that, and I have added three more suchlike as well as five other single composer CDs of music from minor classical and pre-classical composers like Boyce, Cherubini, and Pleyel. Then there is the Bach stackm and 3 more Schumann CDs left, of course. Underneath the Schumann mini-stack, I've put the 6 CD Hungaroton set of the complete Bartok chamber music.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Carter
String Quartet No. 1
Composers Quartet
Cheers,
~Karl
String Quartet No. 1
Composers Quartet
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
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karlhenning
- Composer-in-Residence
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Carter
String Quartet No. 2
Composers Quartet
Ligeti
Lontano
Berliner Philharmoniker
Jno Nott
Cheers,
~Karl
String Quartet No. 2
Composers Quartet
Ligeti
Lontano
Berliner Philharmoniker
Jno Nott
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
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- Contact:
Ligeti
Atmosphères
Berliner Philharmoniker
Jno Nott
Cheers,
~Karl
Atmosphères
Berliner Philharmoniker
Jno Nott
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Wuorinen
The Great Procession (1995)
The Group for Contemporary Music
Ollie Knudsen
Cheers,
~Karl
The Great Procession (1995)
The Group for Contemporary Music
Ollie Knudsen
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the week ending Saturday, 02 FEB 2008, I listened to the following::
1. Bach, J.S.: French Suites, S. 812-817 (1’32:40)—Edward Aldwell, piano—2 CD hanssler set, Vol. 114 of CBE. Fine performances, if you like Bach on a modern piano, which I generally don’t.
2. Bach, J.S: Cantatas 179 (16:50), 180 (23:15), & 181 (13:44)---Rilling, cond. usual suspects---hanssler CD Vol. 54 of CBE. Excellent performances.
3. Bach, J.S.: Cantatas 182 (29:19), 183 (14:33), 184 (23:45)---Rilling, cond. usual suspects—hanssler CD, Vol. 55 of CBE. Excellent performances.
4. Schumann: Mass in C Minor, Op. 147 (44:41)---Berlin PO, Chor des Stadtischen Musikvereins zu Dusseldorf, Wolfgang Sawallisch, cond. Mitsuko Shirai, soprano, Peter Seiffert, tenor, Jan-Hendrik Rootering, bass |Requiem in D Flat, Op. 148 (32:46)---Dusseldorfer Sym., Chor des Stadtischen Musikvereins zu Dusseldorf, Bernhard Klee, cond. Helen Donath, soprano, Doris Soffel, contralto, Nicolai Gedda, tenor, Diethrich Fischer-Dieskau, baritone EMI CD. These are very good, infrequently performed works, well worth a listen or two, and well performed. Recommended.
5. Arensky: Piano Trio 1 in D Minor, Op. 32 (31:45) |Glinka: Trio Pathetique in D Minor (17:40)---The Borodin Trio (Luba Edlina, piano, Rostislav Dubinsky, violin, Yuli Turovsky, cello)—Chandos CD. Very fine, infrequently performed works, very tuneful, should be much more widely known and performed. Highly recommended.
6. Schumann: Dichterliebe (A Poet’s Love), Op. 48 (27:24) |Beethoven: 4 Songs (12:34) |Schubert: 9 Songs (25:18)—Fritz Wunderlich, tenor, Hubert Giesen, piano—DG CD. These are great performances, esp of the Schumann and Schubert works. Wunderlich performs this music in an easy, fluid way which conveys a sense of intimate and secure familiarity with these works. Superb recording which comes with the highest recommendation.
1. Bach, J.S.: French Suites, S. 812-817 (1’32:40)—Edward Aldwell, piano—2 CD hanssler set, Vol. 114 of CBE. Fine performances, if you like Bach on a modern piano, which I generally don’t.
2. Bach, J.S: Cantatas 179 (16:50), 180 (23:15), & 181 (13:44)---Rilling, cond. usual suspects---hanssler CD Vol. 54 of CBE. Excellent performances.
3. Bach, J.S.: Cantatas 182 (29:19), 183 (14:33), 184 (23:45)---Rilling, cond. usual suspects—hanssler CD, Vol. 55 of CBE. Excellent performances.
4. Schumann: Mass in C Minor, Op. 147 (44:41)---Berlin PO, Chor des Stadtischen Musikvereins zu Dusseldorf, Wolfgang Sawallisch, cond. Mitsuko Shirai, soprano, Peter Seiffert, tenor, Jan-Hendrik Rootering, bass |Requiem in D Flat, Op. 148 (32:46)---Dusseldorfer Sym., Chor des Stadtischen Musikvereins zu Dusseldorf, Bernhard Klee, cond. Helen Donath, soprano, Doris Soffel, contralto, Nicolai Gedda, tenor, Diethrich Fischer-Dieskau, baritone EMI CD. These are very good, infrequently performed works, well worth a listen or two, and well performed. Recommended.
5. Arensky: Piano Trio 1 in D Minor, Op. 32 (31:45) |Glinka: Trio Pathetique in D Minor (17:40)---The Borodin Trio (Luba Edlina, piano, Rostislav Dubinsky, violin, Yuli Turovsky, cello)—Chandos CD. Very fine, infrequently performed works, very tuneful, should be much more widely known and performed. Highly recommended.
6. Schumann: Dichterliebe (A Poet’s Love), Op. 48 (27:24) |Beethoven: 4 Songs (12:34) |Schubert: 9 Songs (25:18)—Fritz Wunderlich, tenor, Hubert Giesen, piano—DG CD. These are great performances, esp of the Schumann and Schubert works. Wunderlich performs this music in an easy, fluid way which conveys a sense of intimate and secure familiarity with these works. Superb recording which comes with the highest recommendation.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
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- Contact:
Carter
String Quartet No. 5 (1995)
Pacifica Quartet
Cheers,
~Karl
String Quartet No. 5 (1995)
Pacifica Quartet
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
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- Contact:
Morton Feldman
For Stefan Wolpe (1986)
Choir of St Ignatius of Antioch
Harold Chaney, director
Nice and quiet.
Which, come to think of it, is probably what I don't much need early on a cold Thursday morning :-)
Cheers,
~Karl
For Stefan Wolpe (1986)
Choir of St Ignatius of Antioch
Harold Chaney, director
Nice and quiet.
Which, come to think of it, is probably what I don't much need early on a cold Thursday morning :-)
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
RebLem
- Posts: 9114
- Joined: Tue May 17, 2005 1:06 pm
- Location: Albuquerque, NM, USA 87112, 2 blocks west of the Breaking Bad carwash.
- Contact:
In the 3 weeks ending Saturday, 23 FEB 2008, I listened to only 9 CDs, such was my addiction to politically oriented broadcasting. But here they are.
1. Bach, J.S:: 4 Reconstructed Violin Concerti: Sinfonia in D Major, S. 1045 (5:34) |Conc. in D Minor, S 1052R (20:20) |Conc.for 3 violins in G Minor, S. 1056R (9:20) |Conc. in D Major, S. 1064 (15:52)—Rilling, cond., Bach-Collegium Stuttgart, Isabelle Faust, violin (all), Muriel Cantoreggi & Christoph Poppen, violins (S. 1056R)—hanssler CD Vol. 138 of CBE. Rec 2000. Fine performances of tastefully constructed, but minor works.
2. Bach, J.S.: A Book of Chorale Settings: Incidental Festivities & Psalms (63:16)---Rilling, cond., Bach-Collegium Stuttgart, Gachinger Kantorei, Gerhard Gnann, organ---hanssler CD Vol. 82 of CBE. Rec 1998-9. Fine performances of minor works.
3. Schumann: Fantasiestuecke, Op. 12 (22:30), rec. 5/70 |Symphonic Etudes, Op. 13 and Posthumous Etudes (33:48 ), rec. 1/72 |Faschingsschwank aus Wien, Op. 26 (20:13), rec. 10/76---Sviatoslav Richter, piano—Yedang CD. Magnificent performances.
4, 5, 6. Bartok: CD 1-- Piano Quintet (1904, rev 1920) (38:17), SQ 1, Op. 7 (1909) (29:57) |CD 2—SQ 2, Op. 17 (1917) (26:16), SQ 3 (1927) (14:57), SQ 4 (1928 ) (22:22) |CD 3--- SQ 5 (1934) (30:15), SQ 6 (1939) (27:32), Contrasts for Violin, Clarinet, and Piano (1938 ) (16:42)---Tatrai Quartet in piano quintet and the 6 string quartets. Csilla Szabo, piano (quintet), Miklos Szenthelyi, violin, Kalman Berkes, clarinet, Zoltan Kocsis, piano (Contrasts)---3 CD Hungaroton box, Vol. 2 of a 6 CD slipcased set of the complete Bartok Chamber Music. I know that the Bartok string quartets are supposed to be the greatest body of chamber music from the 20th century. Everybody who knows what they’re talking about says so. I must say, however, that I have never been able to warm to them. And other sets than this are generally considered better by all those other people. But I think the neutral, natural tone of these performances, in an acoustic that is perfect for chamber music, neither too reverberant or too dry, make the best case for these works I have heard, and I own and have listened to the Emerson and Takacs Quartet sets as well as this one. To me, the most interesting work here is the piano quintet. It is beautiful, and has a rigorous musical argument, a precursor, in many ways, of the Shostakovich quintet. The Contrasts is also an interesting work. It was commissioned by Bartok’s friend Joseph Szigeti; he played it with Benny Goodman. This set is highly recommended.
7. Choral music of Herbert Howells and Ralph Vaughan Williams. This CD has 6 pieces, which alternate between the two composers, as follows: VW: Prayer to the Father of Heaven for SATB Choir (4:40) |HH: A Sequence for St. Michael for ST Soli, SATB Choir, and organ (1961) (11:56) |VW: A Vision of Aeroplanes for for soprano solo, SATB Choir, and organ (1955) (9:47) |HH:The House of the Mind for SATB Choir and organ (9:57) |VW: Lord, Thou hast been our Refuge for STB Soli and countertenor, and SATB Choir, organ, and trumpet (9:36) |HH:Requiem for ST Soli, countertenor, baritone, and SATB Choir (20:57)—The Finzi Singers, Paul Spicer, dir. (all soloists are also members of The Finzi Singers), John Freeman-Attwood, trumpet, Harry Bicket, organ—Chandos CD. Fine performances.
8. Salmhofer, Franz (1900-75) Heiteres Herbarium (Cheerful Herbarium) (25:03) |Loewe, Carl (1796—1869): Die Heinzelmaennchen, Op. 83 (8:58 ) ; Der verliebte Maikaefer, Op. 64 # 1 (5:47) ; Tom der Reimer, Op. 155 (5:40) |Prokofiev: The Ugly Duckling after Hans Christian Andersen, Op. 18 (1914) (12:18 )---Eberhard Buechner, tenor, Norman Shetler, piano. Berlin Classics CD—All these songs, on nature themes, are sung in German, even the Prokofiev. Booklet is entirely in German, no English notes or texts. Despite that, these are wonderful, tuneful songs, and Buechner is a wonderful tenor. Highly recommended.
9. Prokofiev: Peter and the Wolf |Saint-Saens: The Carnival of the Animals |Britten: The Young Person’s Guide to the Orchestra, Variations and Fugue on a Theme of Purcell—NYPO, Leonard Bernstein, cond. and narrator in the Prokofiev and Saint-Saens, Master Henry Chapin, narrator in the Britten. (75:13)—Sony CD. Superb performances and narration. Highly recommended.
1. Bach, J.S:: 4 Reconstructed Violin Concerti: Sinfonia in D Major, S. 1045 (5:34) |Conc. in D Minor, S 1052R (20:20) |Conc.for 3 violins in G Minor, S. 1056R (9:20) |Conc. in D Major, S. 1064 (15:52)—Rilling, cond., Bach-Collegium Stuttgart, Isabelle Faust, violin (all), Muriel Cantoreggi & Christoph Poppen, violins (S. 1056R)—hanssler CD Vol. 138 of CBE. Rec 2000. Fine performances of tastefully constructed, but minor works.
2. Bach, J.S.: A Book of Chorale Settings: Incidental Festivities & Psalms (63:16)---Rilling, cond., Bach-Collegium Stuttgart, Gachinger Kantorei, Gerhard Gnann, organ---hanssler CD Vol. 82 of CBE. Rec 1998-9. Fine performances of minor works.
3. Schumann: Fantasiestuecke, Op. 12 (22:30), rec. 5/70 |Symphonic Etudes, Op. 13 and Posthumous Etudes (33:48 ), rec. 1/72 |Faschingsschwank aus Wien, Op. 26 (20:13), rec. 10/76---Sviatoslav Richter, piano—Yedang CD. Magnificent performances.
4, 5, 6. Bartok: CD 1-- Piano Quintet (1904, rev 1920) (38:17), SQ 1, Op. 7 (1909) (29:57) |CD 2—SQ 2, Op. 17 (1917) (26:16), SQ 3 (1927) (14:57), SQ 4 (1928 ) (22:22) |CD 3--- SQ 5 (1934) (30:15), SQ 6 (1939) (27:32), Contrasts for Violin, Clarinet, and Piano (1938 ) (16:42)---Tatrai Quartet in piano quintet and the 6 string quartets. Csilla Szabo, piano (quintet), Miklos Szenthelyi, violin, Kalman Berkes, clarinet, Zoltan Kocsis, piano (Contrasts)---3 CD Hungaroton box, Vol. 2 of a 6 CD slipcased set of the complete Bartok Chamber Music. I know that the Bartok string quartets are supposed to be the greatest body of chamber music from the 20th century. Everybody who knows what they’re talking about says so. I must say, however, that I have never been able to warm to them. And other sets than this are generally considered better by all those other people. But I think the neutral, natural tone of these performances, in an acoustic that is perfect for chamber music, neither too reverberant or too dry, make the best case for these works I have heard, and I own and have listened to the Emerson and Takacs Quartet sets as well as this one. To me, the most interesting work here is the piano quintet. It is beautiful, and has a rigorous musical argument, a precursor, in many ways, of the Shostakovich quintet. The Contrasts is also an interesting work. It was commissioned by Bartok’s friend Joseph Szigeti; he played it with Benny Goodman. This set is highly recommended.
7. Choral music of Herbert Howells and Ralph Vaughan Williams. This CD has 6 pieces, which alternate between the two composers, as follows: VW: Prayer to the Father of Heaven for SATB Choir (4:40) |HH: A Sequence for St. Michael for ST Soli, SATB Choir, and organ (1961) (11:56) |VW: A Vision of Aeroplanes for for soprano solo, SATB Choir, and organ (1955) (9:47) |HH:The House of the Mind for SATB Choir and organ (9:57) |VW: Lord, Thou hast been our Refuge for STB Soli and countertenor, and SATB Choir, organ, and trumpet (9:36) |HH:Requiem for ST Soli, countertenor, baritone, and SATB Choir (20:57)—The Finzi Singers, Paul Spicer, dir. (all soloists are also members of The Finzi Singers), John Freeman-Attwood, trumpet, Harry Bicket, organ—Chandos CD. Fine performances.
8. Salmhofer, Franz (1900-75) Heiteres Herbarium (Cheerful Herbarium) (25:03) |Loewe, Carl (1796—1869): Die Heinzelmaennchen, Op. 83 (8:58 ) ; Der verliebte Maikaefer, Op. 64 # 1 (5:47) ; Tom der Reimer, Op. 155 (5:40) |Prokofiev: The Ugly Duckling after Hans Christian Andersen, Op. 18 (1914) (12:18 )---Eberhard Buechner, tenor, Norman Shetler, piano. Berlin Classics CD—All these songs, on nature themes, are sung in German, even the Prokofiev. Booklet is entirely in German, no English notes or texts. Despite that, these are wonderful, tuneful songs, and Buechner is a wonderful tenor. Highly recommended.
9. Prokofiev: Peter and the Wolf |Saint-Saens: The Carnival of the Animals |Britten: The Young Person’s Guide to the Orchestra, Variations and Fugue on a Theme of Purcell—NYPO, Leonard Bernstein, cond. and narrator in the Prokofiev and Saint-Saens, Master Henry Chapin, narrator in the Britten. (75:13)—Sony CD. Superb performances and narration. Highly recommended.
Don't drink and drive. You might spill it.--J. Eugene Baker, aka my late father
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
"We're not generating enough angry white guys to stay in business for the long term."--Sen. Lindsey Graham, R-S. Carolina.
"Racism is America's Original Sin."--Francis Cardinal George, former Roman Catholic Archbishop of Chicago.
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Mennin
Concertato, Moby-Dick
Symphony No. 5
Albany Symphony
David Alan Miller
Cheers,
~Karl
Concertato, Moby-Dick
Symphony No. 5
Albany Symphony
David Alan Miller
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Mennin
Piano Concerto
Jn Ogden, pf
Royal Philharmonic
Igor Buketoff
Cheers,
~Karl
Piano Concerto
Jn Ogden, pf
Royal Philharmonic
Igor Buketoff
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
No iPod here, Corlyss, I'm clean! :-)
Mennin
Symphony No. 3 (1946)
NY Phil / Mitropoulos
Symphony No. 7 (1963)
CSO / Martinon
Cheers,
~Karl
Mennin
Symphony No. 3 (1946)
NY Phil / Mitropoulos
Symphony No. 7 (1963)
CSO / Martinon
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
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James
the music of Saturday from Light (194'11) is mostly wonderful:
inspired, hugely imposing, exciting, grotesque, magisterial, and at times intensely poetic...
Short synopsis
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karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Mennin
Symphony No. 7 (1963)
CSO / Martinon
Had to listen to this twice in immediate succession, it is just so exceptionally good.
Cheers,
~Karl
Symphony No. 7 (1963)
CSO / Martinon
Had to listen to this twice in immediate succession, it is just so exceptionally good.
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
karlhenning
- Composer-in-Residence
- Posts: 9812
- Joined: Wed Apr 20, 2005 11:12 am
- Location: Boston, MA
- Contact:
Respighi
Vetrate di chiesa (Church Windows)
Impressione brasiliane (Brazilian Impressions)
Buffalo Phil / JoAnn Falletta
Been curious to hear these pieces for a while, and the Naxos release was most budgetarily convenient.
Cheers,
~Karl
Vetrate di chiesa (Church Windows)
Impressione brasiliane (Brazilian Impressions)
Buffalo Phil / JoAnn Falletta
Been curious to hear these pieces for a while, and the Naxos release was most budgetarily convenient.
Cheers,
~Karl
Karl Henning, PhD
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
Composer & Clarinetist
Boston, Massachusetts
http://members.tripod.com/~Karl_P_Henning/
http://henningmusick.blogspot.com/
Published by Lux Nova Press
http://www.luxnova.com/
-
Chalkperson
- Disposable Income Specialist
- Posts: 17113
- Joined: Tue Mar 27, 2007 1:19 pm
- Location: New York City
- Contact:
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Chalkperson
- Disposable Income Specialist
- Posts: 17113
- Joined: Tue Mar 27, 2007 1:19 pm
- Location: New York City
- Contact:
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