WAYLTL -- March 2010
number_six
This one is fine -- don't need that Harnoncourt recording!
Fairouz - Baalbeck Folk Festival - Lebanon (Monitor)
The Instruments of the Middle Ages and the Renaissance (Vanguard)
Musica Reservata of London - Martin Bookspan narrates and does
commentary
Ligeti - Kammerkonzert; Ramifications; Lux aeterna; Atmospheres
(Wergo)
Herb Alpert & TJB - What Now My Love (Shout)
great version of "It Was A Very Good Year"
Black Sabbath - Volume 4 (Warner)
Wim Brioen - Eddy Marien - Carillon and Guitar (Rene Gailly)
Villa Lobos - Yepes - Guitar Concerto, 12 Etudes, 5 Preludes (DG)
The Kabalahs - Time Tunnel (Dionysus)
some of this was too cheesy even for me, but Erev Ba was beautifully
realized, very effective
Billy May - Sorta May /Sorta Dixie (GNP)
don't miss the cribs from Rimsky's Scheherezade in "Oh, By Jingo!"
And, as always, some terrific stuff from RMCR and Sym Share --
especially enjoyed the Valenti Bach French Suites, and the
Shostakovich "From the Manuscripts of Different Years." Thanks to
everyone who posts.
Andrej Kluge
number_six wrote:
> Black Sabbath - Volume 4 (Warner)
"Changes" is nice :)
Ciao
AK
Matthew�B.�Tepper
letters to be typed in news:c3a1b3f1-e428-4313-a81a-5837a6171838
@u15g2000prd.googlegroups.com:
> Gershwin - Porgy and Bess - Goldman, Houston Grand Opera (RCA)
> This one is fine -- don't need that Harnoncourt recording!
I thought the conductor was John DeMain?
> The Instruments of the Middle Ages and the Renaissance (Vanguard)
> Musica Reservata of London - Martin Bookspan narrates and does
> commentary
David Munrow is among the instrumentalists, if I remember correctly.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
jrsnfld
> number_six <cyberi...@hotmail.com> appears to have caused the following
> letters to be typed in news:c3a1b3f1-e428-4313-a81a-5837a6171838
> @u15g2000prd.googlegroups.com:
>
> > Gershwin - Porgy and Bess - Goldman, Houston Grand Opera (RCA)
> > This one is fine -- don't need that Harnoncourt recording!
>
> I thought the conductor was John DeMain?
That wasn't reference to a conductor, of course: Sherwin Goldman gets
equal production credit with Houston Grand Opera.
--Jeff
jrsnfld
Usually I avoid Philippe Entremont, but for some reason here I am
listening to him in Prokofiev PC3 and enjoying it. Maybe Ernest Bour
is to praised for maintaining an elegant line in this performance.
Anyone here an actual Entremont "fan"?
--Jeff
pgaron
Sherwin Goldman was a very successful producer and influential member
of the New York City arts scene for many years. He was also a friend
and high school classmate of my older brother in (are you ready for
it?) Fort Worth, Texas.
pgaron
Bob Lombard
Why not? There are Ponti fans; actually I am one of them, for his
recorded repertoire. Matter of fact, excepting his Alkan, which is the
best on recordings, my appreciation of Hamelin is for his repertoire.
bl
--
Music, books, a few movies
LombardMusic
http://www.amazon.com/shops/A3NRY9P3TNNXNA
number_six
You're both right; the way I typed it, his role wasn't clear, but both
of you (and many others here) are knowledgeable enough to see past my
sloppiness!
jrsnfld
> jrsnfld wrote:
> > On Mar 3, 9:52 am, number_six <cyberi...@hotmail.com> wrote:
>
> > Usually I avoid Philippe Entremont, but for some reason here I am
> > listening to him in Prokofiev PC3 and enjoying it. Maybe Ernest Bour
> > is to praised for maintaining an elegant line in this performance.
>
> > Anyone here an actual Entremont "fan"?
>
> > --Jeff
>
> Why not? There are Ponti fans; actually I am one of them, for his
> recorded repertoire. Matter of fact, excepting his Alkan, which is the
> best on recordings, my appreciation of Hamelin is for his repertoire.
Ponti and Hamelin have distinguished themselves for repertoire, as you
say. Hamelin in particular can actually play whatever oddities he
chooses. He's got great fingers and a consistent interpretive stance
that (at least) doesn't interfere with hearing the notes. I'm not a
fan, however: I have heard some great concerts of his, but his discs I
find too "uninvolved", "neutral", what have you.
So getting back to Entremont...what's the appeal? Anyone collect his
output the way people collect Ponti or Hamelin?
--Jeff
number_six
> letters to be typed in
> > The Instruments of the Middle Ages and the Renaissance (Vanguard)
> > Musica Reservata of London - Martin Bookspan narrates and does
> > commentary
>
> David Munrow is among the instrumentalists, if I remember correctly.
>
I thought he might have been, but don't see him listed in the notes.
The leader is Michael Morrow. But I found an LP on my shelves that's
similar to that Vanguard recording -- David Munrow discusses a variety
of early woodwind instruments. It's called "The Mediaeval Sound" and
also features Gillian Reid and Christopher Hogwood. It's on the
Peerless /Oryx label. Nice picture on the back of Munrow with a
crumhorn. Think I will give this LP a spin next weekend!
number_six
I like that one also. When I heard that album as a kid, I thought the
extended coda at the end of Wheels of Confusion was good but overlong
-- now I wished it had gone on much longer than it did!
Allen
things, I picked up two Naxos discs, just about as different as two CDs
could be. One contains 4 "first recordings" of Shostakovich--music for
the movie "Girlfriends", two works for stage plays (Hail, Britannia! and
Salute to Spain) and an unfinished planned first movement of Sym 9. All
very enjoyable. The other is the Wit recording of Penderecki's
Utrenja--the first section of which is perhaps the darkest music I've
ever heard. I'm listening to it right now. From what I've heard so far
it will replace the CD derived from the old PN LP.
Allen
Mr. Mike
wrote:
>Anyone here an actual Entremont "fan"?
I once heard Entremont live doing a performance of Messiaen's Oiseaux
Exotiques. He did a good job.
number_six
That's high praise -- the old PN recording of Utrenya is a powerful,
harrowing ride. Maybe it's a bit lazy on my part but sometimes with
modern works where I've heard the premiere recording, I assume that's
always going to be the benchmark. No particular reason that should be
any truer with contemporary works than with music from before my
time. Kudos to Naxos if their release is that good!
Sol L. Siegel
a81a-583...@u15g2000prd.googlegroups.com:
> Gershwin - Porgy and Bess - Goldman, Houston Grand Opera (RCA)
> This one is fine -- don't need that Harnoncourt recording!
I actually saw the production - it camped out in the Academy of Music
most of the summer of 1976, IIRC. I have the recording, too, of course.
I recently got the cpo disc of Weingartner's VC - a genuine charmer that
could hold a place on the edge of the repertory along with the Busoni.
One could imagine that Kreisler might indeed have made an impression
with it when it was new. The makeweight - actually the longer work - is
the first CD version in years of FW's version of Schubert's E major
symphony sketch, D. 729 (usually known as No. 7). This piece found
Schubert struggling to close the gap between his early "classical"
period and his later epic style. He gave up, but there's some great
material here, especially in the early going, and Weingartner did a good
job of salvaging it, even if he goes a little weird and Brucknerian with
the harmonies at times. Alun Francis, his obscure orchestra and Laurent
Albrecht Breuninger, the soloist, all do bang-up jobs. Recommended.
In the meantime, I'm waiting for Mode to send a replacement copy of
their DVD of Morton Feldman's 1980 Trio, which found the composer taking
his strange sound-world into cool and remote regions for 105 minutes.
YMMV, to put it mildly; beautiful DTS reproduction helps. It suits me
just fine, but there was a audio/video glitch at about the 33' point,
and a promised documentary supplement was missing from the first
pressing. Mode says they should have the corrected copies this week.
--
- Sol L. Siegel, Philadelphia, PA USA
Allen
is was well-performed but wasn't exactly state of the art sound quality.
I haven't listened to it in a good while because Utrenja is about as far
from elevator music as it can get. I also add that I have a special
fondness for Wit's recordings of just about any Polish music. A woman
named Margaret Mikulska used to post frequently here, but hasn't been
heard from in several years. She had pretty strong opinions about Polish
music and performances--I miss her.
Allen
Bob Lombard
[snip]
A woman
> named Margaret Mikulska used to post frequently here, but hasn't been
> heard from in several years. She had pretty strong opinions about Polish
> music and performances--I miss her.
> Allen
Hah. Margaret had strong opinions period. I miss her too.
John Wiser
> On 3/3/2010 6:24 PM, number_six wrote:
>> On Mar 3, 1:17 pm, Allen<all...@austin.rr.com> wrote:
[partly snipped]
>>>...the Wit recording of Penderecki's
>>> Utrenja--the first section of which is perhaps the darkest music I've
>>> ever heard. I'm listening to it right now. From what I've heard so far
>>> it will replace the CD derived from the old PN LP.
>>
>> That's high praise -- the old PN recording of Utrenya is a powerful,
>> harrowing ride. Maybe it's a bit lazy on my part but sometimes with
>> modern works where I've heard the premiere recording, I assume that's
>> always going to be the benchmark. No particular reason that should be
>> any truer with contemporary works than with music from before my
>> time. Kudos to Naxos if their release is that good!
> I'll have to get out the old PN and compare it; my remembrance is that is
> was well-performed but wasn't exactly state of the art sound quality. I
> haven't listened to it in a good while because Utrenja is about as far
> from elevator music as it can get.
Ummm...you listen mostly to elevator music these days?
[nuther snip]
> A woman named Margaret Mikulska used to post frequently here, but hasn't
> been heard from in several years. She had pretty strong opinions about
> Polish music and performances--I miss her.
In MM's case strong opinions = knowing a lot about... but I suspect
that she found dealing with some of the long-tenured abrasive jerks of rmcr
more a trial than it was worth. I'm sure that if she had hung around longer
she would have wound up in Tepper's well-known and oft-mentioned killfile.
By the operation of Monkey See Monkey Do, no doubt she would at length
also have been confined to yours.
--
John Wiser
Jicotea Used Books
Howells NY 10932 0136 USA
cee...@gmail.com
http://www.amazon.com/shops/ceeclef
The Historian
I don't collect Entremont recordings, but the few I have tend to be
good - and all with Ormandy/PO.
The Historian
> Gershwin - Porgy and Bess - Goldman, Houston Grand Opera (RCA)
> This one is fine -- don't need that Harnoncourt recording!
While on the subject, my listening so far in March has been sampling
from the "Radio Hour" programs at Internet Archive. These are
wonderful 30 minute condensations of light operas and musicals, sung
by host Gordon MacRea with a female guest, a supporting cast, the
Norman Luboff Choir and an orchestra led by Carmen Dragon. I wish the
sound were better on a lot of these, but despite the dated low-fi and
the inflated arrangements, these are a lot of fun. Besides, where else
can you find "The Emperor of San Francisco?"
TareeDawg
> Allen wrote:
>
> [snip]
> A woman
>> named Margaret Mikulska used to post frequently here, but hasn't been
>> heard from in several years. She had pretty strong opinions about
>> Polish music and performances--I miss her.
>> Allen
>
> Hah. Margaret had strong opinions period. I miss her too.
Not really strong opinions - just her own opinions which were valued by
myself. RMCR has never been the same without her. I liked the way she
confined a certain person to the doghouse. Ah ... such memories ....
Ray Hall, Taree
Kip Williams
> While on the subject, my listening so far in March has been sampling
> from the "Radio Hour" programs at Internet Archive. These are
> wonderful 30 minute condensations of light operas and musicals, sung
> by host Gordon MacRea with a female guest, a supporting cast, the
> Norman Luboff Choir and an orchestra led by Carmen Dragon. I wish the
> sound were better on a lot of these, but despite the dated low-fi and
> the inflated arrangements, these are a lot of fun. Besides, where else
> can you find "The Emperor of San Francisco?"
>
> http://www.archive.org/details/TheRailroadHour
Railroad Hour, eh? Okay, that's an interesting pointer to a nice chance
to find out more about some shows than I'd have managed to dig up on my
own -- at least without putting out some money. I'm listening to "Babes
in Toyland" now.
Thanks!
Kip W
The Historian
"Swan Lake" was specially arranged for the series, and it's so vulgar
in its arrangements of Tchaikovsky that it has to be heard.
The Historian
The Schumann Story is also pretty over the top.
Matthew B. Tepper
following letters to be typed in news:db17cd1b-0741-4941-9195-
ad4e0b...@j27g2000yqn.googlegroups.com:
> I don't collect Entremont recordings, but the few I have tend to be
> good - and all with Ormandy/PO.
I wouldn't recommend Entremont's recordings of Stravinsky's Capriccio and
Concerto. The composer grumbled that the soloist had been forced upon him by
the label (Columbia Masterworks). Nor is Entremont ideal for Bernstein's
"The Age of Anxiety," the Symphony #2 which is more like a piano concerto.
Kip Williams
> The Historian<neil.the...@gmail.com> appears to have caused the
> following letters to be typed in news:db17cd1b-0741-4941-9195-
> ad4e0b...@j27g2000yqn.googlegroups.com:
>
>> I don't collect Entremont recordings, but the few I have tend to be
>> good - and all with Ormandy/PO.
>
> I wouldn't recommend Entremont's recordings of Stravinsky's Capriccio and
> Concerto. The composer grumbled that the soloist had been forced upon him by
> the label (Columbia Masterworks). Nor is Entremont ideal for Bernstein's
> "The Age of Anxiety," the Symphony #2 which is more like a piano concerto.
He did a good enough job through most of Ravel's Left Hand concerto, but
at the very end he missed a detail that takes a little of the
satisfaction away of a job well done. Apart from that, though, he was up
to the demands of the piece, technically and interpretively. I used to
listen to his recording of the G major concerto as well, eventually
going over to DeLarrocha because that was easier to get on CD.
Kip W
Kip Williams
> On Mar 4, 8:28 am, Kip Williams<k...@rochester.rr.com> wrote:
>> The Historian wrote:
>>> http://www.archive.org/details/TheRailroadHour
>>
>> Railroad Hour, eh? Okay, that's an interesting pointer to a nice chance
>> to find out more about some shows than I'd have managed to dig up on my
>> own -- at least without putting out some money. I'm listening to "Babes
>> in Toyland" now.
> "Swan Lake" was specially arranged for the series, and it's so vulgar
> in its arrangements of Tchaikovsky that it has to be heard.
Here's a bit of Swan Lake with a very special sort of vulgarity as an
afterthought. Splendid, glorious... one might even say royal vulgarity:
http://www.youtube.com/watch?v=g2jb9U7fXH0
From "We Are Most Amused," the 60th birthday celebration for Prince
Charles, introduced by John Cleese, with at least one of his friends
showing up to help things along.
(Once you get to the link, it gives the surprise away in the title, so
I'll go ahead and spill it -- Always Look on the Bright Side of Life,
with ballerinas.)
Kip W
Steve de Mena
> The Historian<neil.the...@gmail.com> appears to have caused the
> following letters to be typed in news:db17cd1b-0741-4941-9195-
> ad4e0b...@j27g2000yqn.googlegroups.com:
>
>> I don't collect Entremont recordings, but the few I have tend to be
>> good - and all with Ormandy/PO.
>
> I wouldn't recommend Entremont's recordings of Stravinsky's Capriccio and
> Concerto. The composer grumbled that the soloist had been forced upon him by
> the label (Columbia Masterworks). Nor is Entremont ideal for Bernstein's
> "The Age of Anxiety," the Symphony #2 which is more like a piano concerto.
What *is* Entremont ideal for? :)
Steve
Allen
three "Hour" programs on NBC Mondays: Firestone Hour (7:00PM CST),
followed by Bell Telephone Hour (7:30), and Railroad Hour (8:00)--all in
the span of 1.5 hours. Actually, the first two were originally an hour
each.
Allen
Matthew�B.�Tepper
letters to be typed in news:r9idnaYXBM_4SBLW...@giganews.com:
There's a "Carnaval des animaux" from the late '70s that I like.
number_six
> On 3/4/10 7:21 AM, Matthew B. Tepper wrote:
>
> > following letters to be typed in news:db17cd1b-0741-4941-9195-
>
> >> I don't collect Entremont recordings, but the few I have tend to be
> >> good - and all with Ormandy/PO.
>
> > I wouldn't recommend Entremont's recordings of Stravinsky's Capriccio and
> > Concerto. The composer grumbled that the soloist had been forced upon him by
> > the label (Columbia Masterworks). Nor is Entremont ideal for Bernstein's
> > "The Age of Anxiety," the Symphony #2 which is more like a piano concerto.
>
> What *is* Entremont ideal for? :)
>
> Steve
A similar question came up regarding Simon Rattle -- whether there
were any recordings for which he was a given listener's first choice.
As it turned out, several were mentioned.
Entremont may not be the best (the ideal) but some of his Chopin
recordings on Columbia are very special to me because his recording
was my first acquaintance with the music.
Lawrence Chalmers
w/Ancerl, Navarra, Czech Philharmonic
on Supraphon - a favorite work of mine and the best of the good
performances out there
Shostakovich Cello concertos w/Schiff/
M. Shostakovich conducting the Bavaian
Radio Symphony on Phiips 'Originals' -
a convenient pairing of both - but seems bland on #1 compared to the
Supraphon Ancerl/Sadlo
Rachmaninov Symphony No. 2 w/ Jose Cura cond. Varvisio Symphony
Orchestra
there are other better oes but for some reason the dedication recording
to
Luis Garcia Navarro seems apt. Makes me wonder what the history of the
work and LGN is.
Led Zeppelin III - the best ever (i.e.my favorite) of their recordings
Satie, Milhaud, Auric, etc by Dorati not
as good as the ones I imprinted on (or with?) with the early Capitol
'Bouef' (Golschmann) but great recording and saisfactory Antal Dorati
Parade, a bit underpowered
Wm Schuman symphony No. 6 on Naxos - a welcome addition to the
discography,
short though it is - it grabs me more than Ormandy's probably because
the sound is so good, but the rim shots in Ormandy's are better ;-)
Tristan Acts 2,3 by Furtwangler w/Schluter and Suthaus 1947 - white hot
- seems Furtwangler is a bit more controlled in studio 'complete'
recording w/Flagstad - I haven't heard it in a few years. The complete
I find myself listening to more often is Bayreuth/Bohm/Nilsson on dg.
All the above, imho - but nevertheless
great listening to kick off March. Maybe I'll next turn to Sam Barber
to acknowledge his centenary year.
Much of his music seems to me so warm, autumnal and dramtically lyric -
right for
this time of the year here in partly sunny and wet San Francisco
Lawrence Chalmers
such as for Prokofiev Symphony-Concerto
and the reference/comparison/Schiff
was with the Ancerl/Shostakovich Cello
Concerto No. 1. (The CC No. 2 - Schiff-amazed me!)
The Historian
While on the subject of old time radio, The Halls of Ivy, with Ronald
Colman, has an episode about recorder-playing and chamber music.
The Historian
Moving on.....
Vivaldi's La Cetra, Louis Kaufmann and his butter cream tone front and
center. The old Concert Hall recording, downloaded from the European
Archive, is rather brightly lit and in this transfer doesn't do
justice to the string tone. Still, these are delightful performances
from Vivaldi's Hollywood champion.
The Historian
Moving on......
It's rainy here this weekend, and my bike is being serviced. So I have
little to do aside from listen to recordings. Here's what I've been
listening to this week:
Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-
tight playing with warm Philadelphia strings and brass that's not
afraid to sound like brass. I need to get 1 and 3 from this set; why
oh why isn't this available?
Schumann Sym 1 and 4 - Stock, CSO, in Bill Anderson's wonderful
transfers.
Schumann 4 - Goosens, Cin. SO, another Bill Anderson transfer. Stock's
CSO plays better than the Porkopolis band under Goosens, but the
latter catches more of the quirkiness of the 4th.
Schumann 4 - Van Kempen, RCO, in "vhorowitz" transfer. I spent all
morning downloading his transfers of Van Kempen, Van Beinum, etc. I
also read a post in which he claimed "Neal" is a more 'correct'
spelling than "Neil." I'll forgive him that heresy in exchange for
recovering performances as fine as Van Kempen's.
Schumann Sym. 4, err, Sullivan Iolanthe - Sargent, et al, 1962. EMI's
sound is very good, Sargent finds more in the music than did Godfrey
on Decca, and despite his age I think George Baker is a better Lord
Chancellor than John Reed.
Sullivan Mikado and Gondoliers - Chicago Theater of the Air, 1940s.
These are radio broadcasts of truncated versions of the operas. 90 per
cent of Gilbert's words are hacked and replaced, and Sullivan's
orchestrations are rewritten. The only reason to possibly rehear these
is for David Polari's Nanki-Poo; he went on to sing Faust in Munch's
recording of Berlioz's opera.
Youman's No, No, Nannette and Romberg's Student Prince - Chicago
Theater of the Air, 1940s. Better than the Sullivan works above, and
with Jan Peerce as the Student Prince. BTW, some of these broadcasts
open with up to 15 minutes of Cold War hysteria in the form of
speeches from the publisher of the Chicago Tribune. The Gondoliers is
delayed so the Freedom's Foundation of Valley Forge, PA, can present
him with a medal for his defense of the American Way of Life.
Various Van Kempen transfers by "vhorowitz", including Brahms
Hungarian dances and a collection of overtures.
Hindemith Symphonic Metamorphosis - Leinsdorf, Boston SO. I find most
of Leinsdorf's Boston recordings boring, but this 1966 live
performance is a lot of fun, and has great playing from the BSO.
Don Swaim "Book Beat" interviews with Ray Bradbury, Richard Adams,
John Toland, Joyce Carol Oates, and John C. Gardner at
wiredforbooks.com.
"You Are There" radio broadcast on the Woman's Rights Convention of
1853, as covered by CBS News.
Several Mozart concertos by Artur Balsam, liberated from the European
Archive. I wish the sound were better on these. Balsam is very good
and the orchestras no worse than those Vox used at the time.
Matthew B. Tepper
following letters to be typed in news:c250b502-6611-4ac3-a3ad-0dbe8b755955@
15g2000yqi.googlegroups.com:
> Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-tight
> playing with warm Philadelphia strings and brass that's not afraid to
> sound like brass. I need to get 1 and 3 from this set; why oh why isn't
> this available?
You gotta ask? Because they're not among the group of recordings that Sony
BMG seems to issue again and again and again and again and again and again.
Still, it's nice to know that sometimes an American orchestra has been
permitted to record Schumann's #2, unlike Leinsdorf's Boston Symphony
Orchestra, on account of the godlike wisdom of one Roger Hall.
(Doing a Google search, I was momentarily distressed to see a Roger Hall
credited as Director of the American Music Recordings Archive and many
other positions, but that's actually a Roger *Lee* Hall; besides, the
eponymous label hack, Roger *G.* Hall, died back in 2005.)
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed in news:c250b502-6611-4ac3-a3ad-0dbe8b755955@
> 15g2000yqi.googlegroups.com:
>
> > Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-tight
> > playing with warm Philadelphia strings and brass that's not afraid to
> > sound like brass. I need to get 1 and 3 from this set; why oh why isn't
> > this available?
>
> You gotta ask? Because they're not among the group of recordings that Sony
> BMG seems to issue again and again and again and again and again and again.
It was a rhetorical question, Matthew.
That out of the way, are 1 and 3 available anywhere in the world? I
see there's an early 90s CD issue of the 1st paired with the Brahms
3rd by Levine/CSO.
Bastian Kubis
>>> Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-tight
>>> playing with warm Philadelphia strings and brass that's not afraid to
>>> sound like brass. I need to get 1 and 3 from this set; why oh why isn't
>>> this available?
>>
>
> That out of the way, are 1 and 3 available anywhere in the world? I
> see there's an early 90s CD issue of the 1st paired with the Brahms
> 3rd by Levine/CSO.
In Japan, issued at the same time as the Levine/CSO Brahms cycle:
<http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38356>. Actually, in
contrast to the Brahms, the Schumann was before available at least in
Europe: <http://www.amazon.de/dp/B000025TSB>.
Bastian
Sol L. Siegel
news:9c750470-f846-4821...@b7g2000yqd.googlegroups.com:
>> > Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra.
>> >
>> > Razor-tight playing with warm Philadelphia strings and brass that's
>> > not afraid to sound like brass. I need to get 1 and 3 from this
>> > set; why oh why isn't this available?
>>
>> You gotta ask? Because they're not among the group of recordings
>> that Sony BMG seems to issue again and again and again and again and
>> again and again.
>
> It was a rhetorical question, Matthew.
>
> That out of the way, are 1 and 3 available anywhere in the world? I
> see there's an early 90s CD issue of the 1st paired with the Brahms
> 3rd by Levine/CSO.
The only CD of 3, AFAIK, was in the UK issue of the complete set. Amazon
UK has a copy of this for a mere 49.99 UKP. The CD of 1 & 3 from the set
apparently was available singly for a time, but no more.
wkasimer
> In Japan, issued at the same time as the Levine/CSO Brahms cycle:
> <http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38356>. Actually, in
> contrast to the Brahms, the Schumann was before available at least in
> Europe: <http://www.amazon.de/dp/B000025TSB>.
I don't know whether it's still the case, but it was available at HMV
Japan, too, and as I recall, the price was quite reasonable.
It's odd that so many of Levine's recordings are so difficult to find
in the USA...
Bill
Matthew B. Tepper
to be typed in news:1e04bb5d-dd8a-44be-bb1e-1beb34c81966@
19g2000yqu.googlegroups.com:
The current "leadership" at Sony BMG have probably never heard of Levine.
number_six
Ensemble Clement Janequin - Une Fete chez Rabelais (HM)
From the first time I heard them, I have always loved the blend of
voices this ensemble presents.
Bob Harper
(snip)
> Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-
> tight playing with warm Philadelphia strings and brass that's not
> afraid to sound like brass. I need to get 1 and 3 from this set; why
> oh why isn't this available?
It is:
http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38356
The Brahms set (in case you're interested) is also available:
http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38358
and a wonderful (pace TD) Dvorak Cello Concerto with the young Lynn Harrell:
http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38366
Bob Harper
(snip)
jrsnfld
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed in news:c250b502-6611-4ac3-a3ad-0dbe8b755955@
> 15g2000yqi.googlegroups.com:
>
> > Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-tight
> > playing with warm Philadelphia strings and brass that's not afraid to
> > sound like brass. I need to get 1 and 3 from this set; why oh why isn't
> > this available?
>
> You gotta ask? Because they're not among the group of recordings that Sony
> BMG seems to issue again and again and again and again and again and again.
>
> Still, it's nice to know that sometimes an American orchestra has been
> permitted to record Schumann's #2, unlike Leinsdorf's Boston Symphony
> Orchestra, on account of the godlike wisdom of one Roger Hall.
Hmmm. Let's see, I have: Philadelphia with Levine, Cleveland with
Dohnanyi and Szell, New York with Bernstein, St Louis with Semkow,
Chicago with Barenboim, Minneapolis with Mitropoulos, Houston with
Commissiona, Baltimore with Zinman...who else? Schwarz? Sawallisch?
--Jeff
The Historian
Moving on..... the rain has stopped, but the roads are messy, and I'm
going to an Outdoor Sports Expo later this morning. In the meantime,
here's what I've been listening to lately:
More downloads from Neil, err, Neal "vhorowitz": Wuhrer in a nice but
ungentle performance of a Schubert sonata, k. 959. Lehmann in Bach
Cantata #1 and Mendelssohn's Calm Seas and Prosperous Voyage. Van
Beinum leading the LPO in suites from Handel's Water Music and Music
for the Royal Fireworks, Mozart Symphony 34, and ballet music from
Schubert's Rosamunde. All are very good transfers - I have the Van
Beinum Mozart and Handel Water Music on CD, and Neil's, err, Neal's
transfer is much better.
The Ford Theater of the Air performance of Girl Crazy. It's not bad,
and they cram as much music as they can into an hour. However, the
1940s arrangements and 'pop' singing styles blunt the sharp jazz-age
of the tunes, and drain the wit from the lyrics.
Washington Musica Viva performances. This is a DC area chamber group
with an extensive collection of performances to download. The
musicians are decently if distantly recorded. So far I've heard a
lovely Dvorak Piano Quintet, one of two on the site, a Hindemith piano
trio, Schubert's Trout, and some solo recordings by the group's
director Carl Banner.
From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
5th Symphony. So far the Weber and Mahler have been enjoyable without
having the last ounce of "oomph" to push the performances into the
memorable category. We'll hear in the few minutes if Jarvi/Frankfort
comes close to Craft/CSO in the Brahms 5th.
Rugby
> He did a good enough job through most of Ravel's Left Hand concerto, but
> at the very end he missed a detail that takes a little of the
> satisfaction away of a job well done. Apart from that, though, he was up
> to the demands of the piece, technically and interpretively. I used to
> listen to his recording of the G major concerto as well, eventually
> going over to DeLarrocha because that was easier to get on CD.
Agreed, mine the lp pairing both, the Cleveland Orchestra if I recall,
in the LH with Boulez, the G with Ormandy / PO ?
What is the "missed detail" in the LH which I missed him missing ?
Thanks !
Rugby
Rugby
Ustvolskaya - Working my way thru the YT's, and purchased from Amazon
an mp3 of her 1st Symphony and Piano Concerto, both of which I am
greatly enjoying , and which will probably suffice.
Rugby
The Historian
> From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
> Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
> 5th Symphony. So far the Weber and Mahler have been enjoyable without
> having the last ounce of "oomph" to push the performances into the
> memorable category. We'll hear in the few minutes if Jarvi/Frankfort
> comes close to Craft/CSO in the Brahms 5th.
It doesn't, although it's interesting at times. Jarvi is slower than
Craft in the last movement, and brings out the percussion more. Jarvi
treats this movement as a series of episodes, milking each one for
whatever 'effect' he can get out of it. I prefer Craft's more sober
treatment.
Kip Williams
It's a small thing that adds to my enjoyment of the piece. In the
arpeggios up and down the keyboard in the penultimate measures,
Casadesus (1960) firmly nails the bottom note of each run. Anchoring it
the way he does feels right, though I haven't looked to see if anything
is indicated there. Without that, the arpeggios just feel like they're
wandering with no particular aim in mind.
It's kind of like how Casadesus does the trills that connect two
sections of Franck's Symphonic Variations with spine-tingling
correctness. They sound as even as twin metronomes (magically in sync,
which metronomes would never be), and he emphasizes the beat, giving the
trills a sense of true metric perfection. Other performances seem to
treat the trills as something to get through in order to get back to
something more enjoyable.
So perhaps it's not that Entremont missed a detail as that he didn't
find one to bring out and burnish.
Kip W
Matthew B. Tepper
letters to be typed in
> On 3/13/10 11:09 AM, The Historian wrote:
> (snip)
>> Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-
>> tight playing with warm Philadelphia strings and brass that's not
>> afraid to sound like brass. I need to get 1 and 3 from this set; why
>> oh why isn't this available?
>
> It is:
>
> http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38356
>
> The Brahms set (in case you're interested) is also available:
>
> http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38358
I recommend this Brahms set very highly.
> and a wonderful (pace TD) Dvorak Cello Concerto with the young Lynn
> Harrell:
>
> http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38366
>
> Bob Harper
> (snip)
--
Matthew B. Tepper
typed in news:a2e3ffc6-d5ca-4c0d-8132-e0e112588962
@z1g2000prc.googlegroups.com:
> On Mar 13, 11:29 am, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> The Historian <neil.thehistor...@gmail.com> appears to have caused the
>> following letters to be typed in news:c250b502-6611-4ac3-a3ad-0dbe8b75
>> 59...@15g2000yqi.googlegroups.com:
>>
>> > Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-
>> > tight playing with warm Philadelphia strings and brass that's not
>> > afraid to sound like brass. I need to get 1 and 3 from this set; why
>> > oh why isn't this available?
>>
>> You gotta ask? Because they're not among the group of recordings that
>> Sony BMG seems to issue again and again and again and again and again
>> and again.
>>
>> Still, it's nice to know that sometimes an American orchestra has been
>> permitted to record Schumann's #2, unlike Leinsdorf's Boston Symphony
>> Orchestra, on account of the godlike wisdom of one Roger Hall.
>
> Hmmm. Let's see, I have: Philadelphia with Levine, Cleveland with
> Dohnanyi and Szell, New York with Bernstein, St Louis with Semkow,
> Chicago with Barenboim, Minneapolis with Mitropoulos, Houston with
> Commissiona, Baltimore with Zinman...who else? Schwarz? Sawallisch?
Toscanini/NBC, and (assuming that you meant "New York Philharmonic" above)
Bernstein/New York Stadium Symphony from 1953.
Matthew B. Tepper
following letters to be typed in news:aa59bc77-c2a3-4f77-900f-1e9117339839
@e7g2000yqf.googlegroups.com:
> From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
> Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
> 5th Symphony. So far the Weber and Mahler have been enjoyable without
> having the last ounce of "oomph" to push the performances into the
> memorable category. We'll hear in the few minutes if Jarvi/Frankfort
> comes close to Craft/CSO in the Brahms 5th.
His 1988-89 LSO recording of it for Chandos doesn't. In fact, I don't even
think Craft/Philharmonia (once on Koch, now on Naxos) comes close.
jrsnfld
> jrsnfld <jrsn...@aol.com> appears to have caused the following letters to be
> typed in news:a2e3ffc6-d5ca-4c0d-8132-e0e112588962
> @z1g2000prc.googlegroups.com:
>
>
>
> > On Mar 13, 11:29 am, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
> >> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> >> following letters to be typed in news:c250b502-6611-4ac3-a3ad-0dbe8b75
>
> >> > Schumann Symphonies 2 and 4 - Levine, Philadelphia Orchestra. Razor-
> >> > tight playing with warm Philadelphia strings and brass that's not
> >> > afraid to sound like brass. I need to get 1 and 3 from this set; why
> >> > oh why isn't this available?
>
> >> You gotta ask? Because they're not among the group of recordings that
> >> Sony BMG seems to issue again and again and again and again and again
> >> and again.
>
> >> Still, it's nice to know that sometimes an American orchestra has been
> >> permitted to record Schumann's #2, unlike Leinsdorf's Boston Symphony
> >> Orchestra, on account of the godlike wisdom of one Roger Hall.
>
> > Hmmm. Let's see, I have: Philadelphia with Levine, Cleveland with
> > Dohnanyi and Szell, New York with Bernstein, St Louis with Semkow,
> > Chicago with Barenboim, Minneapolis with Mitropoulos, Houston with
> > Commissiona, Baltimore with Zinman...who else? Schwarz? Sawallisch?
>
> Toscanini/NBC, and (assuming that you meant "New York Philharmonic" above)
> Bernstein/New York Stadium Symphony from 1953.
Ah, yes. Thanks. Forgot Bernstein's earlier disc.
Did Leinsdorf record Schumann 2 with Rochester? I don't think so, but
I can't remember. If we're going to include Toscanini's fine
performance, then we might include Reiner's as well (didn't the CSO
release his Schumann 2?). And the Sawallisch/Philadelphia.
--Jeff
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed in news:aa59bc77-c2a3-4f77-900f-1e9117339839
> @e7g2000yqf.googlegroups.com:
>
> > From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
> > Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
> > 5th Symphony. So far the Weber and Mahler have been enjoyable without
> > having the last ounce of "oomph" to push the performances into the
> > memorable category. We'll hear in the few minutes if Jarvi/Frankfort
> > comes close to Craft/CSO in the Brahms 5th.
>
> His 1988-89 LSO recording of it for Chandos doesn't. In fact, I don't even
> think Craft/Philharmonia (once on Koch, now on Naxos) comes close.
I didn't state that it was Paavo Jarvi swinging the stick here.
Rugby
> So perhaps it's not that Entremont missed a detail as that he didn't
> find one to bring out and burnish.
>
Per my Durand et Fils score , the bottom note is not given any
emphasis, but does stand out distinctly on the page,an entire octave
lower from the surrounding notes up and down, and I agree it would be
more effective to accent it, and I have heard others do so as well. I
also agree Casadesus' trill in the Franck is a striking and effective
touch. Do consider acquiring the cd of Casadesus' solo piano music
which includes his 24 Preludes.
Rugby
Matthew B. Tepper
following letters to be typed in news:73a9e990-46d5-41b9-983a-
35c640...@g11g2000yqe.googlegroups.com:
> On Mar 14, 1:46 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> The Historian <neil.thehistor...@gmail.com> appears to have caused the
>> following letters to be typed in news:aa59bc77-c2a3-4f77-900f-1e911733
>> 98...@e7g2000yqf.googlegroups.com:
>>
>> > From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
>> > Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
>> > 5th Symphony. So far the Weber and Mahler have been enjoyable without
>> > having the last ounce of "oomph" to push the performances into the
>> > memorable category. We'll hear in the few minutes if Jarvi/Frankfort
>> > comes close to Craft/CSO in the Brahms 5th.
>>
>> His 1988-89 LSO recording of it for Chandos doesn't. In fact, I don't
>> even think Craft/Philharmonia (once on Koch, now on Naxos) comes close.
>
> I didn't state that it was Paavo Jarvi swinging the stick here.
I meant Neeme, not Paavo. I don't know if Paavo was even making recordings
by 1988. When I met him (and his parents) at the very end of 1982, he was
just twenty, thin as a rail. Oh, and he had a full head of hair. Come to
think of it, back then, so did I.
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> 35c640f3f...@g11g2000yqe.googlegroups.com:
>
>
>
> > On Mar 14, 1:46 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
> >> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> >> following letters to be typed in news:aa59bc77-c2a3-4f77-900f-1e911733
>
> >> > From Symphonyshare, a Proms concert with Jarvi leading the Frankfort
> >> > Symphony in Weber's Oberon overture, Mahler lieder, and the Brahms'
> >> > 5th Symphony. So far the Weber and Mahler have been enjoyable without
> >> > having the last ounce of "oomph" to push the performances into the
> >> > memorable category. We'll hear in the few minutes if Jarvi/Frankfort
> >> > comes close to Craft/CSO in the Brahms 5th.
>
> >> His 1988-89 LSO recording of it for Chandos doesn't. In fact, I don't
> >> even think Craft/Philharmonia (once on Koch, now on Naxos) comes close.
>
> > I didn't state that it was Paavo Jarvi swinging the stick here.
>
> I meant Neeme, not Paavo. I don't know if Paavo was even making recordings
> by 1988. When I met him (and his parents) at the very end of 1982, he was
> just twenty, thin as a rail. Oh, and he had a full head of hair. Come to
> think of it, back then, so did I.
Cue for Gerard to write something smarmy. :-)
What was the problem with the 1988 Jarvi recording?
Kip Williams
I consider it, and should do more than just consider it. I have him in
his concerto and his concerto for three pianos (with Gaby and Jean), and
an LP of Gaby playing a sonata and eight etudes. I should start by
listening to all that again, but I'm temporarily stymied by a turntable
in need of a good cleaning and lube.
Kip W
Matthew B. Tepper
following letters to be typed in news:c535cd29-3f7b-44e1-9fff-
eddfb4...@m37g2000yqf.googlegroups.com:
> On Mar 14, 4:10 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> The Historian <neil.thehistor...@gmail.com> appears to have caused the
>> following letters to be typed in news:73a9e990-46d5-41b9-983a-
>> 35c640f3f...@g11g2000yqe.googlegroups.com:
>>
>> > On Mar 14, 1:46 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> >> The Historian <neil.thehistor...@gmail.com> appears to have caused
>> >> the following letters to be typed in news:aa59bc77-c2a3-4f77-900f-
>> >> 1e9117339...@e7g2000yqf.googlegroups.com:
>>
>> >> > From Symphonyshare, a Proms concert with Jarvi leading the
>> >> > Frankfort Symphony in Weber's Oberon overture, Mahler lieder, and
>> >> > the Brahms' 5th Symphony. So far the Weber and Mahler have been
>> >> > enjoyable without having the last ounce of "oomph" to push the
>> >> > performances into the memorable category. We'll hear in the few
>> >> > minutes if Jarvi/Frankfort comes close to Craft/CSO in the Brahms
>> >> > 5th.
>>
>> >> His 1988-89 LSO recording of it for Chandos doesn't. In fact, I
>> >> don't even think Craft/Philharmonia (once on Koch, now on Naxos)
>> >> comes close.
>>
>> > I didn't state that it was Paavo Jarvi swinging the stick here.
>>
>> I meant Neeme, not Paavo. I don't know if Paavo was even making
>> recordings by 1988. When I met him (and his parents) at the very end of
>> 1982, he was just twenty, thin as a rail. Oh, and he had a full head of
>> hair. Come to think of it, back then, so did I.
>
> Cue for Gerard to write something smarmy. :-)
>
> What was the problem with the 1988 Jarvi recording?
Nothing wrong with, it, really, but I don't think I'd put it among my five
favorite recordings of the work. Those would be, let me think:
Craft/CSO
Cziffra Jr.
Dohnányi/Cleveland
Dohnányi/Vienna
Comissiona
Rugby
, but I'm temporarily stymied by a turntable
> in need of a good cleaning and lube.> Kip W
The cd requires neither.
From my youth, a great memory:
The concert took place on November 24, 1967, Minneapolis,MN, Northrup
Auditorium, then Minneapolis Symphony Orchestra with Stanislaw
Skrowaczewski conducting. Program:
Bach Concerto No. 2 in C major for Two Claviers & String
Orchestra ( Robert and Gaby Casadesus )
Casadesus Concerto for Three Pianos & Strings Orchestra (Robert,Gaby,
Jean Casadesus )
Pause
Mozart Concerto in F major for Three Pianos & Orchestra ( The 3
Casadesus )
Grieg Selections from Peer Gynt
Regards, Rugby
Kip Williams
> On Mar 14, 4:04 pm, Kip Williams<k...@rochester.rr.com> wrote:
> , but I'm temporarily stymied by a turntable
>> in need of a good cleaning and lube.> Kip W
>
> The cd requires neither.
It requires a CD.
Kip W
The Historian
Moving on....
I downloaded a ton of "vhorowitz's" transfers, and I'm still working
through them. Last night was the Busch/Serkin Beethoven sonata #9.
Excellent sound. And it was good to hear this work played with passion
again - my last listening to it was the Pamela Frank/Claude Frank tea
party.
From Buster's Big Ten Inch Record, an early 1950s Paramount musical
titled "Aaron Slick from Punkin Crick." As far as I can tell, this
featured Dinah Shore and Alan Young on a farm. The Met's Robert
Merrill appeared in it as a neighbor who just happened to be a noted
singer, and he contributes two songs to the LP.
Matthew B. Tepper
9419de...@g26g2000yqn.googlegroups.com:
> From Buster's Big Ten Inch Record, an early 1950s Paramount musical titled
> "Aaron Slick from Punkin Crick." As far as I can tell, this featured Dinah
> Shore and Alan Young on a farm. The Met's Robert Merrill appeared in it as
> a neighbor who just happened to be a noted singer, and he contributes two
> songs to the LP.
I understand Rudolf Bing was Not Very Happy about this.
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed in news:8f91ca20-3bdb-4571-b122-
>
> > From Buster's Big Ten Inch Record, an early 1950s Paramount musical titled
> > "Aaron Slick from Punkin Crick." As far as I can tell, this featured Dinah
> > Shore and Alan Young on a farm. The Met's Robert Merrill appeared in it as
> > a neighbor who just happened to be a noted singer, and he contributes two
> > songs to the LP.
>
> I understand Rudolf Bing was Not Very Happy about this.
Yes, or so Buster writes. At least Merrill gets to sing decent
material, unlike Dinah Shore who was stuck with some horribly hokey
lyrics. I won't post them here. :-)
The Historian
> Cue for Gerard to write something smarmy. :-)
Well, he missed his cue. So I'll move on.
Some of Damien's transfers this time, of Arthur de Greef playing
Liszt, Grieg, and Saint-Saens. The pianist studied with all three
composers, so his playing has some insight into how they might have
played their works.
Al Eisner
Ivory Classics resissue of Earl Wild's Gershwin
I ordered this from Berkshire as a memorial to Wild, It is a fitting
one, with wonderful piano-playing throughout. It is mostly solo piano,
but opens with a 1945 "Rhapsody in Blue" with Paul Whiteman. This is a
different, and probably more authentic, style than I'm used to in the work
-- fast, with a rather raucous orchestral contribution, and a wordless
choir (was this a feature of the premiere performance?).
No qualms about what comes next: Wild's "7 Virtuoso Etudes" on Gershwin
songs. Not only virtuoso, but also intensely musical. (Who needs
Art Tatum?) Wild's "Grande Fantasy on Porgy and Bess" (yes, "Grande"
is written with that "e"), which follows, is in a similar vein, using
P&B songs as the starting-points. I'm not sure all are at the same
high level, but many are (check out "It ain't neceessarily so",for
a sensational example.) The CD concludes with three Gershwin preludes.
Schumann, Symphonies 1 and 2
I have only two complete sets: Bernstein/Wiener Philharmoiker (DG)
and Barenboim/Staatskapelle Berlin (Teldec). I listened to these two
versions of #1 back-to-back one evening, and the two #2's the next.
The sound on the Bernstein seemed rather harsh, particularly in #1
(much less so in #2, which was recorded over a year later), while that
on the Barenboim set seemed rich and natural -- very satisfying. (That
reaches the limits of my abilities to describe it.) Overall, I'm
pleased with both performances; some specifics follow.
In #1, Bernstein chose faster tempos -- too fast, IMO, in places in
the first movement in particular. And I noticed a lot more obtrusive
tempo variation than I'd expect. Yes, there are supposed to be tempo
changes but I felt Barenboim handled them in a less jarring fashion.
Overall, in this work (my least favorite of the Schumann symphonies)
I preferred Barenboim's approach.
In #2, on the other hand, Bernstein keeps an even keel throughout,
with tempos somewhat slower than Barenboim's in the outer movements,
and much slower in the adagio (nearly 14 minutes vs. Barenboim's 10).
I was thoroughly convinced by Bernstein's affecting, indeed compelling,
adagio. In contrast, while Barenboim's was certainly not perfunctory,
it didn't convey the same intensity. I also prefer Bernstein's tempo
in the first movement and found his lightness of touch in the very
fast last portion of the scherzo particularly felicitous. His finale
seemed a bit subdued, however, and here I was more taken with Barenboim's
more sweeping and propulsive treatment.
I'm glad, overall, to have both of these contrasting versions.
Eventually I'll do something similar with #3 and #4, and perhaps
also with some individual-symphony recordings I also have.
Jennifer Higdon, "Conercto for Orchestra" and "City Scapes", Spano/Atlanta
(Telarc)
I first encountered Jennifer Higdon's music with a couple of chamber
works and a composer forum at Music at Menlo. Her idiom is basically
tonal. These chamber works were attractive and well-crafted, but I
had the feeling that they wouldn't wear well under repetition. (The
individual movements were perhaps a bit one-dimensional, with too much
made of the "story" behind them. The orchestral compositions on this CD
are substantial works, about 35 and 30 minutes in length. The "CfO" is
a five-movement work said to be patterned after Bartok's. It is clearly
intended (among other things) to show off various groups of instruments.
(The notes say it was tailored to the strengths of individual Philadelphia
Orchestra players, although I don't know what that means.) In some
parts (unfortunately including the "keystone" central movement) I didn't
find much beyond this showcasing. But much of the work is genuinely
interesting. Particularly effective are the last two movements: the
4th, for percussion, starts with relatively "gentle" instruments, and
gradually builds up to an emphatic train-like rhythm (now including
the drums). This continues and accelerates in the full-orchestra finale.
As a whole, the work grew on me with a second hearing.
City Scapes is said to be a portrait of Higdon's home city of Atlanta,
a place I've never been. I found the middle of its three movements,
longer than the other two combined, to be the highlight of the disk.
It begins and ends in a sort-of mist, and overall is impressionistic,
almost Debussyan -- rather evocative, perhaps of the "river" in its
title. The outer movements had me thinking too often of "busy work"
(maybe one has to live in Atlanta!), but the first includes a bit of
effective chorale-like brass playing (similar to how Higdon handles the
brass in the CfO), while in the third movement my interest was piqued
by a pseudo-fugue which turned up twice.
The music is not especially challenging on the ear. But this CD of
21st-century music (the only such I own) is IMO worth hearing. The sound
and the orchestral playgin both seemed first-(or close)-rate..
--
Al Eisner
The Historian
wrote:
Moving on......
Wagner's Rheingold and Walkure, the infamous Hans Swarowsky recordings
that appeared on Westminster Gold. I don't understand the hatin'. No
one in the cast is bad, and Gerald McKee's quite a Heldentenor.
Swarowsky's direction isn't as rushed as Bohm, nor as driven as Solti,
but it 'feels' right without drawing attention to itself. The
orchestral playing in these two operas, while not as polished as it
could be, is streets ahead of the sloppy Gotterdamerung Swarowsky
would tape that same month.
Matthew B. Tepper
following letters to be typed in news:55b75c1c-72a0-42a7-bbee-
79760e...@d37g2000yqn.googlegroups.com:
> Wagner's Rheingold and Walkure, the infamous Hans Swarowsky recordings that
> appeared on Westminster Gold. I don't understand the hatin'. No one in the
> cast is bad, and Gerald McKee's quite a Heldentenor. Swarowsky's direction
> isn't as rushed as Bohm, nor as driven as Solti, but it 'feels' right
> without drawing attention to itself. The orchestral playing in these two
> operas, while not as polished as it could be, is streets ahead of the
> sloppy Gotterdamerung Swarowsky would tape that same month.
I was at Record Surplus a few days ago, and Mel (their classical buyer)
showed me the CD issue of this Ring and asked me about it. I'm not familiar
with this set, but I explained to him about Westminster Gold and helped him
find a catalogue with album cover illustrations online. From what you say,
the infamous crumbled cookie photo must fit that "Götterdämmerung."
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed in news:55b75c1c-72a0-42a7-bbee-
>
> > Wagner's Rheingold and Walkure, the infamous Hans Swarowsky recordings that
> > appeared on Westminster Gold. I don't understand the hatin'. No one in the
> > cast is bad, and Gerald McKee's quite a Heldentenor. Swarowsky's direction
> > isn't as rushed as Bohm, nor as driven as Solti, but it 'feels' right
> > without drawing attention to itself. The orchestral playing in these two
> > operas, while not as polished as it could be, is streets ahead of the
> > sloppy Gotterdamerung Swarowsky would tape that same month.
>
> I was at Record Surplus a few days ago, and Mel (their classical buyer)
> showed me the CD issue of this Ring and asked me about it. I'm not familiar
> with this set, but I explained to him about Westminster Gold and helped him
> find a catalogue with album cover illustrations online. From what you say,
> the infamous crumbled cookie photo must fit that "Götterdämmerung."
I have a highlights CD I wrote about a year ago. Swarowsky's Rhine
Journey was a soggy mess.
wkasimer
wrote:
> Wagner's Rheingold and Walkure, the infamous Hans Swarowsky recordings
> that appeared on Westminster Gold. I don't understand the hatin'. No
> one in the cast is bad, and Gerald McKee's quite a Heldentenor.
> Swarowsky's direction isn't as rushed as Bohm, nor as driven as Solti,
> but it 'feels' right without drawing attention to itself. The
> orchestral playing in these two operas, while not as polished as it
> could be, is streets ahead of the sloppy Gotterdamerung Swarowsky
> would tape that same month.
I bought the set when it first came out on CD, and promptly got rid of
it. You're right - no one in the cast, as I recall, is actively
atrocious (something that can't be said about many recording of the
Ring), but everyone - singers, orchestra, and Swarowsky - sounds as
though they're sightreading.
Bill
Matthew B. Tepper
following letters to be typed in
I forgot to mention -- I picked up the new recording of Beethoven's PCs ##
4&5 by Till Fellner and Kent Nagano/Montreal, and enjoyed it very much.
Yesterday I went to Amoeba Music and got the 2010 New Year's Concerto on the
label that was supposed to have been "wiped off the map" more than a year
ago,* and I might listen to it this evening.
* Maybe Lebrecht doesn't know very much about wiping?
Lawrence Chalmers
on Nonesuch w/Nagano - I'd never heard it and saw it at Amoeba for 2.98
- very compelling and beautiful, and the best 2.98 I've ever spentl
Blohmdahl Three symphonies cond, by
Segerstam on Bis - I enjoyed these works
very much, accessible and had a lot to offer me than Aniara which I
heard
when I heard it (just ounce in the 60's) -
something I'll return to in future hearings -
used at Amoeba for 7.98
Irving Fine Symphony, Serious Song
for String Orchestra, Toccata Concertante
on Phoenix with Leinsdorf. BSO - the latter two I liked more than the
Symphony
but the Toccata cut off abruptly 1 minute before it was over with -
pissed me off
because i was so involved - maybe it was a mfg/defective copy - from
Berkshire
Pierre Henry La Ville/Die Stadt on Wergo
which turned out to a be a lost gamble of
7.98 -back it goes to Amoeba
Terry Riley In C on Columbia - I always liked A Rainbow In Curved
Air/Poppy Nogood from the old lp issues - but
this (my first listen-to) was a most enjoyable experience - another 7.98
well spent at Amoeba
A Drum Is a Woman by Ellington - worth
the retail price, especially since I was able to surprise my brother
with, as he'd
longed for a cd release of an old favorite of his - another great Amoeba
surprise
Dallapiccola Vol. 2 on Chandos -
not immediately worth my further attention
*********************************************
and the best surprise ever - Vol. 1
(5cds) of Reinhardt/Grapelli, which I wouldn't have thought to explore
had it not been for the posts I read on this site -
Reinardt amazes me, given his history and in spite of it, but Grapelli
is
marvelous, beautiful, swingingly astounding and for good measure (I've
gone bonkers) I want MORE - Their recordings seem inexhaustble in number
Bulgarian Choral music, which I'd hoped to be a reissue of the material
on Nonesuch lp, but wasn't - beautiful nonetheless by Bulgarian National
Folk Ensemble
Next to come: some Berio Orchestral Music on Col Legno; a recording of
Electronic music by one of my favorites, Pauline Oliveros, which
features V of IV
(ever hear I of IV?); Symphonies 6,7,9 of Roger Sessions on Phoenix
(another BRO purchase) with Dennis Russell Davis conducting - AND a
couple more mutiple cd sets of Reinhardt/Grapelli, which won't arrive
soon enough for me.
Matthew B. Tepper
letters to be typed in news:25660-4BA...@storefull-3172.bay.webtv.net:
> Pierre Henry La Ville/Die Stadt on Wergo which turned out to a be a lost
> gamble of 7.98 -back it goes to Amoeba
Just be glad you didn't pay full price -- Amoeba in Hollywood wants $22.98
for Kai Schumacher's CD on the same label of Rzewski's "The People United
Will Never Be Defeated!" Variations. Obscene.
Bob Harper
(snip)
>
> Irving Fine Symphony, Serious Song
> for String Orchestra, Toccata Concertante
> on Phoenix with Leinsdorf. BSO - the latter two I liked more than the
> Symphony
> but the Toccata cut off abruptly 1 minute before it was over with -
> pissed me off
> because i was so involved - maybe it was a mfg/defective copy - from
> Berkshire
>
I just listened to my copy, and it played perfectly. that said, it would
be nice to have a new transfer of this disc. I'm sure there's better
sound to be had.
And isn't the Toccata a great piece?!
Bob Harper
Matthew B. Tepper
collection on DGG, "Symphonic Spectacular," which contains (among other
things) the best recording I know of Shostakovich's worst work (barring the
Symphonies ## 2 & 3), the Vegetable Overture. Er, I mean Festival.
I picked up this, and the Chandos CD of Bloch's piano-and-orchestra works,
last night at Record Surplus, where I also saw our own Sol L. Siegel.
number_six
> Vaughan Williams: «On Wenlock Edge» (A. E. Housman)
> • Partridge/The Music Group of London [EMI, rec. 1970]
> • Langridge/Shelley/Britten Quartet [EMI, rec. 1990]
>
> Dynamic contrasts and climaxes are somewhat understated in the
> venerable Partridge/The Music Group of London performance, but drama
> and intensity are insidiously generated and maintained through the
> unflagging focus and concentration of the playing allied to
> Partridge's spellbinding storytelling/poetry-rendering -- he simply
> inhabits and becomes one with Housman's texts. Indeed, so involving
> and "to the manner born" is his singing here that other tenors (save
> Langridge) inevitably strike me as sounding, however slightly, prosaic
> or affected by comparison. His voice, too, is ideal for these songs,
> being amply medium-bodied, complex, and adaptable -- and, through it
> all, being unmistakably that of an "English tenor." The Music Group
> of London complements him perfectly, providing him with a vividly
> atmospheric and evocative soundscape in which to dwell. The close-up
> but atmospheric recording is very warm and embracing and nicely
> balanced (actually, Partridge is a degree too closely miked and
> prominent, but it's difficult to complain given the excellence of his
> singing), but it's very slightly veiled and ill-focused, with a touch
> of distortion at climaxes.
>
> For a more bracing and dynamic take, I turn to the Langridge/Shelley/
> Britten Quartet account. Langridge (who, sad to say, died last month)
> might be thought of as the more extroverted and public counterpart to
> Partridge, singing, as he does, in a more overtly dramatic, strongly
> projected manner at the expense of some vocal intricacy and nth-degree
> probing of the text. His voice isn't quite as malleable as
> Partridge's, but it's ideal for his more oratorical delivery and is
> just as unmistakably English in character. The big climaxes are
> particularly climactic here, with Langridge kicking ass and taking
> names, whereas Partridge pulls his punches slightly. Just as
> Langridge and Partridge are two sides of the same coin, Shelley and
> the Britten Quartet are about (but not quite) as good in their
> different way as The Music Group of London, being generally more
> forceful and dynamic but less resilient, subtle, and atmospheric --
> many of the differences magnified somewhat by the differences in
> recorded sound. They whip up a stormier storm in "On Wenlock Edge,"
> for example, but they don't generate as evocative an atmosphere in
> "Bredon Hill," which is taken a wee bit too quickly in any event. The
> recording isn't quite as airy and atmospheric as it might be, but it's
> otherwise warm and naturally balanced.
>
> If I tend to favor Partridge and company on the whole, it ain't by
> much and it ain't always so, as my tendency varies a good deal with my
> mood and Scotch content. The most pleasant surprise in either
> recording is how stunningly the dramatic Langridge sings the decidedly
> undramatic "From far, from eve and morning" -- breathtaking. It
> shouldn't be a surprise, really, considering how superbly he sings
> "those strange cold Chaucer Rondels" of Vaughan William's «Merciless
> Beauty» on another EMI recording, but stashed as it is between the
> turbulent "On Wenlock Edge" and the highly theatrical "Is my team
> ploughing?", the performance stands out for its timeless beauty and
> repose. Partridge sings the song beautifully, of course, but he's
> almost too sensitive and compliant here; Langridge's firmer line and
> less animated sentiment are somehow more affecting, implying an
> underlying strength that gives his characterization a bit more
> dignity.
>
> JR
I like Housman, but he can be depressing. The pastoralism is gone,
the lovers turn away from each other, the funeral bells toll, and so
on. Still, I like the idea of renewing my acquaintance with RVW's
take on Housman. I have a recording of On Wenlock Edge somewhere
(Ainsley, Nash Ensemble), but have not heard it in a long time.
I would have expected "Is My Team Ploughing" to be more somber than
theatrical, given the text. Maybe it works, though. Thanks for your
thoughts on these two recordings.
Bob Harper
> (snip)
the best recording I know of Shostakovich's worst work (barring the
> Symphonies ## 2& 3), the Vegetable Overture. Er, I mean Festival.
>
(snip)
Really? I've always thought of it as a tuneful trifle suitable for
opening concerts. What's so bad about it?
Bob Harper
Matthew B. Tepper
letters to be typed in news:eFDBn.57145$vX7....@en-nntp-11.dc1.easynews.com:
I think it's trash. Shostakovich's much later, and far less familiar,
Overture on Russian and Kirghiz Themes is just as much fun and far more
"solid" musically, at least to my taste. It even has a Haydnish full stop-
and-resume in order to fool the audiences!
wkasimer
> Vaughan Williams: «On Wenlock Edge» (A. E. Housman)
> • Partridge/The Music Group of London [EMI, rec. 1970]
> • Langridge/Shelley/Britten Quartet [EMI, rec. 1990]
You might wish to explore a couple of historic recordings - George
Maran's, currently available on an Alto disc of historic and justly
famous RVW recordings, and Peter Pears' version with the Zorian
Quartet, which is available only on a hard-to-find Pearl 2CD set of
historic RVW. I know that Pears isn't to all tastes, but this
recording was made in the mid-1940's, when his voice was much brighter
and more youthful-sounding.
Bill
Matthew B. Tepper
letters to be typed in news:0d52b486-abfe-4f79-8f1e-42d8272cda17
@y18g2000prn.googlegroups.com:
> Elgar: Introduction and Allegro • Boult/BBC SO [HMV/Beulah]
>
> This urgent and direct 1937 performance is very compelling, with some
> notably affecting playing from the quartet. It has less sweep and
> flow than my longtime favorite account, Barbirolli/Hallé from the mid
> '50s, but it's more raw, muscular, and pugnacious. The fairly
> minimalist Beulah transfer sounds good to me, but I haven't heard the
> well-regarded VAI transfer for comparison. (Beulah never released this
> recording on CD, but they've made it available for download on MP3 via
> their Website for a low price.)
I agree about the Barbirolli; the 2-CD set EMI CMDB 66543 which contains it
is a real treasure trove of Sir John's recordings of mostly shorter Elgar
and VW works, with the Hallé Orchestra in fine form throughout (and the LSO
in the Oboe and Tuba Concerti).
Matthew B. Tepper
letters to be typed in news:ebadb9e3-2645-4058-b3b4-
0931d0...@e28g2000vbd.googlegroups.com:
Looking at my database, I see I lack a recording of RVW's Ten Blake Songs
for Voice and Oboe. How are Ian and Jennifer Partridge in these (also
included on the Music Group of London disc above)? John Mark Ainsley?
Matthew B. Tepper
letters to be typed in
> Matthew B. Tepper wrote:
>> wkasimer wrote:
>> > JR wrote:
>>
>> >> Vaughan Williams: «On Wenlock Edge» (A. E. Housman)
>> >> • Partridge/The Music Group of London [EMI, rec. 1970]
>> >> • Langridge/Shelley/Britten Quartet [EMI, rec. 1990]
>>
>> > You might wish to explore a couple of historic recordings - George
>> > Maran's, currently available on an Alto disc of historic and justly
>> > famous RVW recordings, and Peter Pears' version with the Zorian
>> > Quartet, which is available only on a hard-to-find Pearl 2CD set of
>> > historic RVW. I know that Pears isn't to all tastes, but this
>> > recording was made in the mid-1940's, when his voice was much
>> > brighter and more youthful-sounding.
>>
>> Looking at my database, I see I lack a recording of RVW's Ten Blake
>> Songs for Voice and Oboe. How are Ian and Jennifer Partridge in these
>> (also included on the Music Group of London disc above)? John Mark
>> Ainsley?
>
> The Ainsley/Hulse account is excellent, but the Partridge/Craxton
> account is utterly sublime. If nothing else, download an MP3 of the
> unaccompanied "The Divine Image" -- Partridge's performance is beyond
> any praise.
Thanks, although I am aware that Partridge's voice is not to all tastes.
Beaver Lad
Tepper <oyþ@earthlink.net> wrote:
> My listening over the next few days is going to be the Arthur Fiedler
> collection on DGG, "Symphonic Spectacular," which contains (among other
> things) the best recording I know of Shostakovich's worst work (barring the
> Symphonies ## 2 & 3), the Vegetable Overture. Er, I mean Festival.
=============================================
You may be right about the Shostakovich. My opinion of the piece is
probably warped by inadvertent over-exposure. For over twenty years,
here in The Great White North, CBC Stereo ran a late-afternoon radio
show called Disc Drive‹three hours of musical fluff, chat about cats
and vino, and cuddly cuteness hosted by Jurgen Gothe. The Festival
Overture was employed repeatedly, relentlessly, and revoltingly to
"kick off" one of the three hours.
(After twenty-odd years of exclaiming "WTF?!", I gave up on CBC Stereo,
as CBC Stereo gave up, ultimately, on classical music.)
(Disc Drive, IIRC, was the brain-child of one Tom Deacon, and won many
awards, despite, or because of, the Festival Overture.)
Anyhoo, Shostakovich's Festival Overture is what I am NOT listening to.
Steve de Mena
>
>> My listening over the next few days is going to be the Arthur Fiedler
>> collection on DGG, "Symphonic Spectacular," which contains (among other
>> things) the best recording I know of Shostakovich's worst work (barring the
That is probably the best I have heard. Mikhail Pletnev & the Russian
National Orchestra (DG) are pretty good too. I seem to recall a good
one with Morton Gould on a Varese Sarabande digital LP. (Maybe it just
had great sound)
Steve
Matthew B. Tepper
letters to be typed in news:X62dndtDzYgtZ0rW...@giganews.com:
> In article<Xns9D674E8DCA4...@216.168.3.70>, Matthew B.
>> Tepper<oyž@earthlink.net> wrote:
>>
>>> My listening over the next few days is going to be the Arthur Fiedler
>>> collection on DGG, "Symphonic Spectacular," which contains (among other
>>> things) the best recording I know of Shostakovich's worst work (barring
>>> the Symphonies ## 2& 3), the Vegetable Overture. Er, I mean Festival.
>
> That is probably the best I have heard. Mikhail Pletnev & the Russian
> National Orchestra (DG) are pretty good too. I seem to recall a good
> one with Morton Gould on a Varese Sarabande digital LP. (Maybe it just
> had great sound)
Yes, I had that LP too; it also contained music of Weinberger, Ravel, and
Ginastera. Okay, now I've looked it up in Hulme 3, which lists it as
originally a Chalfont LP, with a reissue on ASV in addition to the Varčse
Sarabande. A CD reissue on the last label has slightly different contents.
Steve de Mena
> Steve de Mena<st...@stevedemena.com> appears to have caused the following
> letters to be typed in news:X62dndtDzYgtZ0rW...@giganews.com:
>
>> In article<Xns9D674E8DCA4...@216.168.3.70>, Matthew B.
>>>
>>>> My listening over the next few days is going to be the Arthur Fiedler
>>>> collection on DGG, "Symphonic Spectacular," which contains (among other
>>>> things) the best recording I know of Shostakovich's worst work (barring
>>>> the Symphonies ## 2& 3), the Vegetable Overture. Er, I mean Festival.
>>
>> National Orchestra (DG) are pretty good too. I seem to recall a good
>> one with Morton Gould on a Varese Sarabande digital LP. (Maybe it just
>> had great sound)
>
> Yes, I had that LP too; it also contained music of Weinberger, Ravel, and
> Ginastera. Okay, now I've looked it up in Hulme 3, which lists it as
> Sarabande. A CD reissue on the last label has slightly different contents.
>
At the risk of sounding ignorant, what is "Hulme 3"? In the 70s/80s
the only references I had were a bunch of Schwanns, Artist Schwanns,
Gramophone catalogs, and a Bielefelder or two. (I was mainly
interested in the 60s era forward)
Steve
Matthew�B.�Tepper
http://www.amazon.com/dp/081084432X
I bought Hulme's first edition back in the early '80s. This copy of #3
turned up from an Amazon seller for $3 and change last summer, so I snapped
it up. It was an ex-lib copy with a couple of stickers and rubber stamps
but otherwise in pristine condition.
Dang. In researching this answer, I now see that a fourth edition just
came out last month, selling for an arm and a leg.
number_six
> number_six wrote:
> > JR wrote:
> > > Vaughan Williams: «On Wenlock Edge» (A. E. Housman)
> > > • Partridge/The Music Group of London [EMI, rec. 1970]
> > > • Langridge/Shelley/Britten Quartet [EMI, rec. 1990]
>
>
> > > JR
>
> > I like Housman, but he can be depressing. The pastoralism is gone,
> > the lovers turn away from each other, the funeral bells toll, and so
> > on. Still, I like the idea of renewing my acquaintance with RVW's
> > take on Housman. I have a recording of On Wenlock Edge somewhere
> > (Ainsley, Nash Ensemble), but have not heard it in a long time.
>
> > I would have expected "Is My Team Ploughing" to be more somber than
> > theatrical, given the text. Maybe it works, though. Thanks for your
> > thoughts on these two recordings.
>
> ploughing?": it alternates between somber conversation and anxious,
> impassioned outburst, sounding like a mini-drama between ghost and
> man. As I vaguely recall, the Butterworth setting is generally somber
> all the way through, more as you'd expect.
>
> I haven't heard the Ainsley/Nash Ensemble recording in a long while,
> but I recall it being part of a very good all-RVW album that includes
> a recording of the rarely heard «Along the Field» (for voice &
> violin).
>
> JR- Hide quoted text -
>
> - Show quoted text -
I reread the poem and can make better sense of it now, that the
setting to music might adopt one tone for the living man's demeanor
and another for the man who's dead. I think Housman's meter is often
sloppy, but I like him anyway. What a *great* last couple of lines --
I cheer a dead man's sweeheart.
Never ask me whose.
Found my Ainsley /Nash Ensemble CD and will listen to it next
weekend. The booklet says RVW's setting omits the stanzas re the lads
playing football. I assume Housman meant rugby, not soccer. Perhaps
the composer didn't care for that part so much.
number_six
> Matthew B. Tepper wrote:
> > wkasimer wrote:
>
> > >> Vaughan Williams: «On Wenlock Edge» (A. E. Housman)
> > >> • Partridge/The Music Group of London [EMI, rec. 1970]
> > >> • Langridge/Shelley/Britten Quartet [EMI, rec. 1990]
>
> > > You might wish to explore a couple of historic recordings - George
> > > Maran's, currently available on an Alto disc of historic and justly
> > > famous RVW recordings, and Peter Pears' version with the Zorian
> > > Quartet, which is available only on a hard-to-find Pearl 2CD set of
> > > historic RVW. I know that Pears isn't to all tastes, but this
> > > recording was made in the mid-1940's, when his voice was much brighter
> > > and more youthful-sounding.
>
> > Looking at my database, I see I lack a recording of RVW's Ten Blake Songs
> > for Voice and Oboe. How are Ian and Jennifer Partridge in these (also
> > included on the Music Group of London disc above)? John Mark Ainsley?
>
> > --
> > Matthew B. Tepper
>
> account is utterly sublime. If nothing else, download an MP3 of the
> unaccompanied "The Divine Image" -- Partridge's performance is beyond
> any praise.
>
>
> - Show quoted text -
I did not think I'd get to this CD until the weekend, but last night I
listened to the 10 Blake Songs performed by Ainsley and Hulse. Wow.
Not to slight Ainsley, but the oboe part is so beautifully written I
am tempted to call this a work for oboe with voice accompaniment. The
soundscape is austere, but deeply evocative, leaning toward
melancholy.
Other works that achieve a comparable effect might be Griffes' Poem
for Flute and Orchestra (not too long ago, Paul posted a fine transfer
of a Louis Lane LP that includes this beautiful work), and Mathias'
Santa Fe Suite for harp. Now I need to look for that harp CD and play
it again; there was great stuff by other composers on there also.
number_six
Now I need to look for that harp CD and play
>
Found it. Elinor Bennett, harp, plays music by Mathias, Faure,
Tournier, Hindemith, Roussel, Tailleferre, Arnold, and Britten. This
is a great program, very well played.
Rugby
Still listening to Samuil Feinberg's Piano Sonatas ( on BIS ) and
enjoying them more each time, as well as Lera Auberbach's solo piano
Preludes and "Dreams".
Rugby
Matthew B. Tepper
to be typed in news:154c2ccb-3013-4748-a3ce-
d562ba...@r21g2000prr.googlegroups.com:
> number_six wrote:
>
>> I did not think I'd get to this CD until the weekend, but last night I
>> listened to the 10 Blake Songs performed by Ainsley and Hulse. �Wow. Not
>> to slight Ainsley, but the oboe part is so beautifully written I am
>> tempted to call this a work for oboe with voice accompaniment. �The
>> soundscape is austere, but deeply evocative, leaning toward melancholy.
>
> It is a nice work, especially considering that RVW didn't particularly
> care for Blake's poetry -- he loathed "The Lamb" and initially refused
> to set it. I always find myself wishing that he had written these
> songs in a thornier, more dissonant manner, but that's actually pretty
> low on my wish list, just below peace on Earth and an end to all human
> suffering.
>
> Brief and strange as it is, �Merciless Beauty� has always been my
> favorite of RVW's song cycles (if three songs makes a cycle). I
> strongly favor Langridge to Ainsley and all others in the little work,
> but Ainsley certainly gets the job done.
Thanks all for the RVW recommendations. Incidentally I mediumly recommend
Ruth Golden's very good recital of RVW songs on Koch. She sings only
excerpts from "The House of Life,' unfortunately, but does include the "Four
Last Songs" (texts by UVW) and some individual songs I've not seen elsewhere.
number_six
> Brief and strange as it is, «Merciless Beauty» has always been my
> favorite of RVW's song cycles (if three songs makes a cycle). I
> strongly favor Langridge to Ainsley and all others in the little work,
> but Ainsley certainly gets the job done.
>
"I count him not, I count him not, I count him not a bean."
The Chaucerian humor is a nice counterweight to the Housman "with rue
my heart is laden" worldview.