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What are you currently listening to?

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Author Topic: What are you currently listening to?  (Read 96648 times)
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cilgwyn
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« Reply #990 on: April 08, 2018, 01:01:28 pm »

On now,the second movement of Simpson's third. I remember,like vandermolen,feeling less enthusiastic about this movement than the rest of the symphony. Now,after all that pounding energy, it seems like the only logical step. It feels just right! :)
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« Reply #991 on: April 08, 2018, 02:21:30 pm »

Playing,now. Robert Simpson's Ninth. One can admire the structure;but I think I preferred 2,3,4 & 5.
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Christo
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... an opening of those magic casements ...


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« Reply #992 on: April 08, 2018, 09:33:16 pm »

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… music is not only an `entertainment’, nor a mere luxury, but a necessity of the spiritual if not of the physical life, an opening of those magic casements through which we can catch a glimpse of that country where ultimate reality will be found.  RVW, 1948
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« Reply #993 on: April 08, 2018, 10:39:21 pm »

some Estonian choir music for a Sunday   C Kreek   
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« Reply #994 on: April 12, 2018, 04:59:02 pm »

William Boyce (1711-1779)  his 8 Symphonies on the Archiv label.... some baroque for Thursday.   I am really enjoying the recordings on the Archiv label of the English Concert with Trevor Pinnock conducting.     Is Archiv a division of DG?
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« Reply #995 on: April 12, 2018, 07:16:40 pm »

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… music is not only an `entertainment’, nor a mere luxury, but a necessity of the spiritual if not of the physical life, an opening of those magic casements through which we can catch a glimpse of that country where ultimate reality will be found.  RVW, 1948
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« Reply #996 on: April 12, 2018, 08:21:07 pm »



Robert Schumann's symphony no 1 and no 3.... Naxos label
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« Reply #997 on: April 13, 2018, 05:46:15 pm »

today's offering on the turntable (CD) is  Ignaz Pleyel: Symphonies in B Flat & G / Flute Concerto in C    on the Naxos label.
Sinfonia Finlandia Jyvaskyla (Orchestra)


some notes:
Considered by Joseph Haydn to his best student, Ignaz Pleyel (1757-1831) learned well, composing in a wide variety of genres before founding a music publishing company and a piano manufacturer. Counted among his works are 41 symphonies, 70 string quartets, 17 quintets, and numerous trios, duets, and concertos. Considered by Mozart to be Haydn’s likely successor, he’s not quite viewed that way today. In his time, he was the most popular composer in Vienna.

Written some time before 1784, the four movement B Flat Symphony opens with a sweeping ‘Allegro assai’ in a supple triple meter. Displaying a deft use of large scale forces, Pleyel employs hushed urgency in the strings against appealing orchestral color supplied by the winds and horns. Although set in major, long passages spool out in minor, giving this impressive 1st section a dark and dramatic undertone. Mincing violins and playful oboes enliven the following movement, a quirky ‘Andantino’ that is in F Major. Broad horns initiate the sturdy ‘Minuetto’ while the contrasting trio is full of sophisticated grace. Bristling with driving energy, the closing ‘Allegro’ is a vigorous rondo with engaging syncopation.

Also penned before 1784, the symphony in G Major begins with a breathless triple metered ‘Allegro assai’ as the initial section. An unfailing good nature prevails, despite the brief excursions into minor, which serve to create a nuanced contrast rather developing emotional depth. Above all, taste and elegance predominate. Composed in G Minor, the ensuing ‘Andante’ is exquisite. Over ominous figures in the lower strings, the violins weave a melancholy melody whose somber tone is that is matched in the central passage. With horns soaring overhead, a single oboe spins an enchanting echo. After the delightful ‘Minuetto’ that is characterized by a charmingly hesitant rhythm, a sparkling ‘Presto’ closes the work. Bright and lively, the sunny finale features brisk pacing without feeling hurried or frenetic.

Formal and deliberate, the opening ‘Allegro” of the C Major Flute Concerto sets the stage for the liquid tones of the soloist, who exhibits a formidable technique. Composed much later, probably in the late 1790’s, the three movement work effortlessly intersperses the orchestral backing among the breath patterns of the single wind. Characterized by high dynamic contrasts, the symphonic support is balanced and appropriate, particularly in the pianissimo passages during the inventive flute solos. After a series of spiraling triplets in the orchestra that introduces the F Major ‘Adagio’, a single silvery note flying high above announces the solo wind instrument. With a warmly welcoming tone and just a hint of vibrato, Patrick Gallois delivers the delicate passion inherent in this superb middle movement. Complete with hunting horn calls, the final ‘Allegretto molto’ is a rousing rondo that bring the concerto and the disc to a joyful conclusion.

Issued in 2010, the excellent recording is crisp and sharply detailed. Under the adept direction of Patrick Gallois, the 38 member Sinfonia Finlandia Jyvaskla brings a skilled and enthusiastic reading to these three symphonic works of Pleyel. Fine examples of his considerable talent, they offer a compelling argument to support Mozart and show why Pleyel was so highly regarded in his day.

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« Reply #998 on: June 16, 2018, 12:29:18 pm »

Playing here,now. The 1966 BBC complete recording,with dialogue,of Gilbert and Sullivan's The Gondoliers. These recordings are imho,vastly superior to the 1989 BBC Series (good as they are). The characterisation's,the liveliness of the interpretations,and the acting of the dialogue is superb. I'm pro-dialogue,when it comes to operetta,but even I have to admit that allot of the dialogue in the old D'Oyly Carte recordings is a bit of a yawn! The delivery of the dialogue in the 1966 recordings is so good I'll actually find myself listening to every word. The key? They treat it as a radio play,rather than just a,let's do the dialogue read-through. If you ignore the quaint introductory narration's (in an old school BBC posh accent) which I find fun;and the fact that the most of the character's dialogue is actually performed by actors (not the singers themselves) with the notable exception of Peter Pratt; these are very probably the best performances of G & S dialogue ever,period! In fact,if the dialogue had been performed this well on the commercial recordings that were released,it might have been more popular with music lovers,who usually find it tedious and boring! And as I say,the performances are absolutely superb. I would even go so far as to say,fan of the old D'Oyly Carte as I am,that these are among the best G & S recordings of the last sixty years (taken as a whole). And Peter Pratt performing the patter songs! :) The Recording of The Pirates of Penzance is the one big disappointment,with Vilem Tausky conducting,and no Peter Pratt. But no one can replace Owen Brannigan,in the role of the Sergeant Major,for me,anyway!! The good news? While the recordings have never been released commercially,they can be downloaded for free,in very clear mono from the internet. I'm not telling you where;but if you want to hear them,just put 1966 BBC Gilbert and Sullivan into Google (other search engines are available! ;D) and you'll find them. Unfortunately,one half of the recording of The Grand Duke is actually the D'Oyly Carte recording! :( The remainder are in very clear mono!
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Neil McGowan
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« Reply #999 on: June 16, 2018, 10:14:18 pm »

Unfortunately,one half of the recording of The Grand Duke is actually the D'Oyly Carte recording! :(

But which half, as Strephon was heard to wonder? 

"What's to become of my upper half when I've buried my lower half I really don't know! ... You see they're two to one, which is a strong working majority. Queen. Don't let that distress you."
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cilgwyn
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« Reply #1000 on: June 18, 2018, 01:02:54 pm »

Unfortunately,one half of the recording of The Grand Duke is actually the D'Oyly Carte recording! :(

But which half, as Strephon was heard to wonder? 

"What's to become of my upper half when I've buried my lower half I really don't know! ... You see they're two to one, which is a strong working majority. Queen. Don't let that distress you."
Quite! ;D

Incidentally,after saying that they were all in very clear mono,I should point out that the 1966 recording of Utopia Limited,which I hadn't listened to,is not! I had to turn the bass controls on my mini hi-fi to 0 and my treble control to it's maximum setting. After this I was finally able to enjoy the,less than crystal clear,recording! But at least it was all there!! Funnily enough,I am beginning to warm,more and more,in the direction of some of the Ohio Light Opera recordings (on Newport Classics and latterly,the Albany label). These have 'complete' dialogue and have provoked a,decidedly mixed,and often hostile reception from G & S devotees. Yet,on my recent (ongoing) traversal of G & S recordings in my collection,it is the OLO that often seem to make the most favourable impression on me. At least among recordings with dialogue,anyway! For example,Princess Ida,which has never been a favourite of mine. Yet,after listening to the Malcolm Sargent recording (with the D'Oyly Carte) and the two BBC recordings,from 1966 & 1989,respectively,it was the Ohio Light Opera recording which made the most favourable impression on me. For once I found myself listening to,and actually enjoying the dialogue,instead of "switching off" through large passages of it (and I'm pro dialogue!!). Yes,some of the singing on the OLO sets can be variable (why are the women always so good,though?!) but,while the singing on the D'Oyly Carte and BBC recordings,to some extent,is obviously more consistent,it does seem to me as if some kind of torpor seems to set in at times?

In this respect I have found some of the Ohio Light Opera recordings a,veritable,breath of fresh air! Also,as well as finding it amusing,and strangely fascinating,to hear Americans performing such a hallowed British (English?) institution as G & S,I can't help wondering if some of the hostility from G & S devotees (groupies?! ;D) is the fact that Americans should have the temerity to perform,record,and thus defile,these illustrious products of Empire?!! In fact,some of the comments on the main G & S website,do strike me as,downright,catty;as opposed to constructive criticism (which is fair enough). For instance (in a review of their recording of The Mikado) referring to Julie Wright (Associate Artistic Director of Ohio Light Opera) as "her ladyship"! As to the American accents slipping in,now and again? I actually don't mind that much;as long as the performances are good. That's what is most important to me! Most of the time their English accents are very convincing to my ears. And done with aplomb! They must have practiced for some time. I can almost imagine them speaking to their wife,or husband,in english accents,at home,just to make sure they get them right!! And waiting for the intrusion of an American accent is probably part of the fun of listening to these recordings! I also like the feeling of being in a theatre,as opposed to a sterile studio. (Although,it is obvious some of these recordings aren't quite what they are made out to be!)
Their recording of Ruddigore is,easily,the most "fun" I have ever heard! (The 1966 BBC recording the all time best). I even enjoyed the Monty Python "women" voices!! And yet,I wasn't too keen on some of their recordings when I first heard them,either! I may even invest in some more,now? (New prices are frightening,yuo have to look for them s/h!) I also really enjoyed their recording of Victor Herbert's The Red Mill. Quite a find,imho! Often described as a Sullivan without a Gilbert! The Irish recently recorded his operetta,Eileen! It has received enthusiastic reviews.

But that's another story,for another post!! ;D
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cilgwyn
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« Reply #1001 on: June 19, 2018, 12:46:05 pm »

The 1966 BBC recording of Patience,with dialogue. Possibly the best recorded performance with dialogue ever. Peter Pratt,who did the patter songs for the D'Oyly Carte,before John Reed took over. Prunella Scales and Andrew Sachs are among the actors performing the dialogue. Peter Pratt,as always,does his own. In very clear mono. This is one of the best of the 1966 BBC series. The 1966 D'Oyly Carte recording is very good,but this is even better! Superb! :)

http://gasdisc.oakapplepress.com/patbbc.htm
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cilgwyn
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« Reply #1002 on: June 24, 2018, 01:27:56 pm »

Playing here now! The 1962 D'Oyly Carte recording of Ruddigore. The omission of dialogue is the big disappointment for me. I'm definitely in the pro dialogue camp when it comes to G & S. And Ruddigore has one of the most,if not the most entertaining plot,imho,of the lot,with it's ott dastardly villain,Witch's curse,ghosts and I mustn't forget Mad Margaret! Fortunately,if you like the dialogue,the Ohio Light Opera released a first rate and hugely entertaining Ruddigore in 2009 (on the Albany label) and there is also the excellent 1966 BBC Studio recording (the best recording with dialogue ever) which can be found online (just put 1966 BBC Ruddigore into Google,or whatever Search engine you use & it's not the one posted on Youtube,if you want good sound!) and the (very good)1989 BBC recording,which can be downloaded here. The D'Oyly Carte recording is up to their usual standard,but contains some cuts. An excellent performance of Cox and Box adds to the entertainment value of this release.
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« Reply #1003 on: June 24, 2018, 02:17:51 pm »

Playing now! The 2000 recording of Princess Ida on the Newport Classics label with dialogue! I have found myself gradually warming to the Ohio Light Opera recordings. Even the recordings I wasn't so impressed by. Like this one! The quality of the singing is a little more variable than on their recordings of Utopia Limited,The Sorcerer and their fantastic Ruddigore;but,taken as a whole,I feel this recording is livelier,and less soporific,than some of the English recordings. I also think I prefer it to the 1965 D'Oyly Carte recording in which John Reed's King Gama sounds unusually gruff (for him!). It also lacks dialogue. The women are particularly good in this recording. The 1966 and 1989 BBC recordings,with dialogue,are as good as can be expected from that source. For a commercial recording this could well be my first choice,now. The occasional intrusion of an American accent really doesn't bother me. It's the quality of the performance that is important to me. Anyway,their English accents are,generally,very good. I can imagine them going home and practising it on their families! And there is something strangely fascinating about listening to Americans performing such a hallowed British institution!
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« Reply #1004 on: June 24, 2018, 07:16:49 pm »

Today listening to Schreck's "Christus" captured from the concert on Deutschland Kultur yesterday, beautiful soprano sound, and quite pleasant to me, I like oratorios even if I don't know the words, sort of the way I listen to requiems, big sounds surrounding me, and suggesting that spiritual over-it-all I almost believe in.
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