What are you listening today and WHY – Only one rule, see first post

[simorag]

Percussions Galore!

The physical side of being exposed to music is very important for me, as it suscitates an immediate (as in non-mediated) connection between sounds and my body, bypassing the aesthetic - hence rational / analytical - step of experiencing sound waves.

This is why I love deep bass content, and all percussive instruments .

Percussions are the incarnation of the primal elements in music, such as pulse, physical excitement through loud sounds, even a certain form of channeled violence, and this somewhat tribal heritage is still well present in modern music, both popular and cultivated.

In the most sophisticated compositions, the visceral aspect of percussions is made more interesting not only through complex rhythms and accents, but also - and more importantly - by color, atmospheric suggestions, again insisting in the impressionistic part of the listener's experience as the connecting tissue of the more explicit, outspoken parts of the musical text.

However, there are cases of scores where percussions play the main character, and boy these can be a lot of fun!

Take the Bartók (who loved experimenting with the percussive side of music and used it in many situations, most famously in his piano concertos) disc below, for example. Composed in 1937, it was a daring attempt to exploiting all the capabilities of the percussion section as the protagonist within the context of a relatively classical form.

Percussions are used to create the sense of space, to reinforce the nocturnal breathing theme in the Adagio and - more idyomatically - to convey the folkloric themes in the Finale. This recording has the typical Living Stereo sound: big, atmospheric, organic, with impressive dynamics.

Another modern work where percussions are the star of the show is the Arcana from Varèse (1927). Here, the percussion section is especially varied, as it includes (according to Wikipedia): medium-sized gong, Chinese cymbal, high tam-tam, low tam-tam, bass drum, string drum, snare drum, side drum, suspended cymbal (with drum sticks), guiro, triangle, slapstick, two Chinese blocks, xylophone, glockenspiel, a rattle, three bells ... and two coconuts

The result is as exciting as hell, and in the spectacular recording below you can appreciate all the hues and all the dynamics in an unrestrained fashion.

Anaklasis (1960), from the Polish composer Penderecki, is a seriously disturbing piece, with a unique, ominous, gripping power driven mainly by the chaotic contrast between the scary string parts and the cataclysmic percussion section. The next composition on this disc is Penderecki most famous work, the Threnody to the Victims of Hiroshima, another bleak, anxious, shattering creation where percussions play a key role in most climatic parts

 

[simorag]

What a great way to begin the Bruckner birth 200th anniversary year!

This recording from Poschner with the Vienna ORF orchestra is really monumental. The sound of the strings, especially the lower registers, has such an organic and peremptory tone, the percussions are devastating and the brass section is full while maintaining the necessary scintillating color.

Poschner manages to keep the momentum throughout the nearly 71 minute long performance, up to the finale, the pièce de resistance of this work, where all hell breaks loose.

Thrilling!

​

 

[Al M.]

Haydn, the Bringer of New Worlds

Haydn was a fountain of music, but the true miracle of his prolific output is the amount of innovations that redefined entire musical idyoms for the next half-century and beyond his death.

From chamber music, to solo keyboard, to sacred vocal compositions, to symphonic, to concertos, there is almost no genre where he did not produce some advancements whose momentum reached out for generations of future creators.

Let's start from the symphonies (he wrote over 100 of them), paying hommage to his most effective evangelist, Leonard Bernstein. The Paris symphonies are a spectacular display of imaginative composition, a wide variety of orchestral colors and moods that was unheard of at the time, and Bernstein exploited the power of a modern orchestra to highlight the weight, the emotional power, the energy that these scores could convey.

Keyboard (over 50 sonatas). The expressive power and the contrasts of colors, dynamics he brought elevated the keyboard from a typical accompanying role to a self-contained cosmos. Bavouzet has recorded all the sonatas and every single one of them hides a musical treasure.

Quartets (68) are another quintessential part of Haydn creative genius. The eloquence, the call for an almost improvisatory interaction between the players - as the music was created on the spot - the effortless spontaneity of the phrasing are a testament of what this highly sophisticated sub-genre of classical music would have developed to in the next centuries.

Sacred music was unavoidable for a professional like Haydn, and he put his rule bending inventiveness at work also here. I have chosen the 7 Last Words (also included - in quartet form - in the previous disc) for their unconventional character of being, instead of the typical fully programmatic compositions, conceived as abstract music inspired by the spiritual and emotional implications of passages of the Passion, like pictorial evocations.

Finally, one of my lifelong favorites, the Cello concerto. A piece that I keep coming to since 30+ years as it contains all the traits I love about this genre, the bold and energetic drive of the cello backed by a lively virtuosic concentus with the orchestra, its lyrical, uniquely introspective color (here portrayed in the calmer 2nd movement), and the feastful dance-like progression to the finale which always leaves a big smile on my face and a rush of adrenalin on my body.

Thank you for highlighting Haydn! He is one of my favorite composers. I think this article sums up his reception over the centuries quite nicely:

Haydn - the poor man’s Mozart?
(Subtitle: In the two centuries since his death Joseph Haydn has been scandalously underrated, argues Richard Wigmore)

https://www.gramophone.co.uk/features/article/haydn-the-poor-man-s-mozart

I love this observation in the article:

For music lovers on his wavelength, the boundless inventiveness and sheer speed of thought of his greatest quartets, symphonies and keyboard trios (still among his best-kept secrets) exert a unique fascination.

This is so true. The "sheer speed of thought" sometimes makes his music fiendishly difficult to follow, contra those who think of Haydn as harmless "background music".

During the Christmas break, I was listening, mostly two times each, to the string quartets op. 20/1, op. 20/2 and op. 20/6 from the above set with the Quatuor Mosaiques, and especially in the outer movements the development in the music really takes place at high speed, and you have to concentrate closely in order to be able to follow it all (if you succeed that is).

Also during the Christmas break, I listened to symphonies 90, 91, 92 and 93, mostly more than one time each as well, and the same thing holds. The note examples in the Wikipedia articles sometimes help, even there are also simplifications.

This is the symphony set that I was listening to, which I can highly recommend:



If you would tell me that I would be banned on an island and could take only one symphony set with me, and you gave me the choice between Beethoven, Bruckner and Haydn, I would choose the Haydn. For certain, Beethoven and Bruckner, also two of my favorite composers, have written some of the greatest symphonies of all time, but Haydn has written so many more symphonies, and they are, in their own way, also highly engaging and interesting. So much so as to keep me busy for a long time on that fictional island.

 

[Al M.]

Percussions Galore!

The physical side of being exposed to music is very important for me, as it suscitates an immediate (as in non-mediated) connection between sounds and my body, bypassing the aesthetic - hence rational / analytical - step of experiencing sound waves.

This is why I love deep bass content, and all percussive instruments .

Percussions are the incarnation of the primal elements in music, such as pulse, physical excitement through loud sounds, even a certain form of channeled violence, and this somewhat tribal heritage is still well present in modern music, both popular and cultivated.

In the most sophisticated compositions, the visceral aspect of percussions is made more interesting not only through complex rhythms and accents, but also - and more importantly - by color, atmospheric suggestions, again insisting in the impressionistic part of the listener's experience as the connecting tissue of the more explicit, outspoken parts of the musical text.

However, there are cases of scores where percussions play the main character, and boy these can be a lot of fun!

Take the Bartók (who loved experimenting with the percussive side of music and used it in many situations, most famously in his piano concertos) disc below, for example. Composed in 1937, it was a daring attempt to exploiting all the capabilities of the percussion section as the protagonist within the context of a relatively classical form.

Percussions are used to create the sense of space, to reinforce the nocturnal breathing theme in the Adagio and - more idyomatically - to convey the folkloric themes in the Finale. This recording has the typical Living Stereo sound: big, atmospheric, organic, with impressive dynamics.

That's a great piece!

Another modern work where percussions are the star of the show is the Arcana from Varèse (1927). Here, the percussion section is especially varied, as it includes (according to Wikipedia): medium-sized gong, Chinese cymbal, high tam-tam, low tam-tam, bass drum, string drum, snare drum, side drum, suspended cymbal (with drum sticks), guiro, triangle, slapstick, two Chinese blocks, xylophone, glockenspiel, a rattle, three bells ... and two coconuts

The result is as exciting as hell, and in the spectacular recording below you can appreciate all the hues and all the dynamics in an unrestrained fashion.

I love Arcana. I mostly listen to this version:



Also super exciting. Truly fantastic modern recording sonically, great dynamics. The National Polish Radio Symphony Orchestra is extraordinary; I saw them live in Prague in 2012 playing Lutoslawski, and they were spectacular.

Talking about percussion, Ionisation (also on the disc that you recommended) is the first standalone piece (composed in 1931) by a classical composer that is for percussion only. I listen to this version (the other pieces on the disc are all fantastic as well, including the very large-scale, monumental Ameriques):

 

[Al M.]

Here is a video of a performance of Arcana. While it is still quite good, the playing is a bit rough; it does not have the uncanny precision as heard in my reference above. Yet the video gives some insights into which instruments are played:

 

[Solartiger]

Great idea for a thread ... Me and my wife spend many evenings in the week listening to music while reading and talking. We have no TV in the living room! I often plan our evenings and prepare music. Here is last nights music ...

Crispell/Peacock/Motian: Amaryllis (ECM 1742)

Amaryllis Marilyn Crispell piano Gary Peacock bass Paul Motian drums Recorded February 2000 at Avatar Studios, New York Engineer: James Farber Produced by Manfred Eicher With Nothing ever way, anyw…

ecmreviews.com

The great rhythm section in Jazz, Paul Motian and Gary Peacock, this time with the lovely Marilyn Crispell on piano. An amazingly poetic album. You are forced to listen and will be rewarded nicely.

From here we moved to the beautiful "Changeless" album by Keith Jarrett, Gary Peacock and Paul Motion. The music on this album is also improvised - but this time live. The magical interplay between these musicians, the understanding of each other as if their brains were connected ... fascinating to hear. Keith is - for a change - NOT singing along, which is highly appreciated! How sweet they sound ...

From here we moved to Paul Bley, Gary Peacock and Paul Motion and the relatively recent album "When Will The Blues Leave". Again we have Paul Motion and Gary Peacock with another piano player, this time the late Paul Bley. This is a modern recording and I have a high resolution version of it. Very very nice!

Now my wife required something with a bit more swing. So I played Gershwin's "My Man's is Gone Now" and "Jean-Pierre" by Miles Davis from the "We Want Miles" album. I have the Japan double CD and it sounds awesome!

To end the evening, I played the "Live at Montreux" by Don Pullen. Don Pullen was an amazing piano player, best know for this work with George Adams. In the 90s, he had a band called the "African Brazilian Connection" that I love. All of those 3 or 4 CDs are gems.

Music is the best!

Cheers,
Ecki

 

[XV-1]

Squarepusher - Feed Me Weird Things

I wanted to hear some dynamic electronica with a slightly jazz / drum n bass feel in parts.

 

[Chop]

I've been comparing versions of Mahler 5th, just playing the Adagietto 4th movement.
Mainly looking for the most "enjoyable" performance, not so bothered about sound quality. The main performance things for me are looking for both emotion & beauty.

I played the following versions. remember, I am probably profoundly cloth eared compared to some of the Mahler experts on here. Its just my opinion.
Here's brief notes:

Bernstein on USA Columbia - Very slow, very "angst ridden". But beautiful. He pulls every last ounce of emotion from it.
Barbirolli on EMI, 1st coloured postage stamp label - Faster (a normal speed!), well balanced, though a bit soulless after the Bernstein.
Haitink on Phillips - Similar pace to Barbirolli, slightly more emotional performance. Beautiful crescendos, nuanced dynamics. Sort of a combination of the first 2.
Serkin on Everest. - Quickly dismissed as too fast and soulless.


Here's the preferences (Drum roll please...)
#1 Haitink !
#2 Barbirolli
#2 Bernstein a draw for #2

#4 Serkin

Very surprised to agree with my wife that the Haitink was our preferred performance. Did not expect that AT ALL, my starting assumption was that the Barbirolli would win.
A tie for #2 between Barb and Bernie. Slight preference for the Barbirolli just because the Bernstein was so slow and so far over the top, but its still beautiful. Special mention of the 3D sound quality on the Bernstein, which I loved. This pulled it up to a Bernie and Barb draw. I'll be playing the Bernstein more now.

Anyways, thought I'd share.

 

[simorag]

I've been comparing versions of Mahler 5th, just playing the Adagietto 4th movement.
Mainly looking for the most "enjoyable" performance, not so bothered about sound quality. The main performance things for me are looking for both emotion & beauty.

I played the following versions. remember, I am probably profoundly cloth eared compared to some of the Mahler experts on here. Its just my opinion.
Here's brief notes:

Bernstein on USA Columbia - Very slow, very "angst ridden". But beautiful. He pulls every last ounce of emotion from it.
Barbirolli on EMI, 1st coloured postage stamp label - Faster (a normal speed!), well balanced, though a bit soulless after the Bernstein.
Haitink on Phillips - Similar pace to Barbirolli, slightly more emotional performance. Beautiful crescendos, nuanced dynamics. Sort of a combination of the first 2.
Serkin on Everest. - Quickly dismissed as too fast and soulless.


Here's the preferences (Drum roll please...)
#1 Haitink !
#2 Barbirolli
#2 Bernstein a draw for #2

#4 Serkin

Very surprised to agree with my wife that the Haitink was our preferred performance. Did not expect that AT ALL, my starting assumption was that the Barbirolli would win.
A tie for #2 between Barb and Bernie. Slight preference for the Barbirolli just because the Bernstein was so slow and so far over the top, but its still beautiful. Special mention of the 3D sound quality on the Bernstein, which I loved. This pulled it up to a Bernie and Barb draw. I'll be playing the Bernstein more now.

Anyways, thought I'd share.

Thanks for the recommendations! Mahler 5th is one of my overall favorite symphonies ... a version I love is this one from Bertini / Kohln Radio Orchestra (not sure it is available on streaming, though). A great balance between grandiosity, propulsive pace and emotional soaring on the more introspective parts, where Bertini manages to keeps the tension of the composition alive even in the slowest moments. Excellent sonics, also.

​

And here is a desert island recording ...

Sure an unorthodox, editorialized interpretation (it's Pogorelich!), yet a most riveting one.

Pushing piano sonorities and evocative powers to the limit.

It triggers an impossibly broad and contrasting range of emotional reactions, from sheer terror, to transcendent meditational status, to grotesque, sardonic figures, to sparse desolation, to reckless euphoria. A genuinely impressionistic performance.

Not for the faint of heart

​

 

[Kal Rubinson]

Serkin on Everest. - Quickly dismissed as too fast and soulless.

??? Serkin? Do you mean Schwarz?

I've been comparing versions of Mahler 5th, just playing the Adagietto 4th movement.
Mainly looking for the most "enjoyable" performance, not so bothered about sound quality. The main performance things for me are looking for both emotion & beauty.

Try this one:

 

[Massimo66]

an immersive journey into Beethoven's violin concerto starting from the dramatic and at times irritating frenzy of Heifetz, passing through the poignant technical perfection of Oistrakh to the romantic magic of Kogan's phrasing, it is incredible how the same concert performed by different great authors can give you different emotions.

 

[Chop]

??? Serkin? Do you mean Schwarz?

Try this one:

You are correct! Schwarz. Thank you.
Sinopoli, I don't know that performance of the 5th and I'll check it out. I saw him conducting Mahler at the Albert Hall in the 80's, might have been the 6th.

 

[Kal Rubinson]

You are correct! Schwarz. Thank you.
Sinopoli, I don't know that performance of the 5th and I'll check it out. I saw him conducting Mahler at the Albert Hall in the 80's, might have been the 6th.

I have more than a dozen M5s and there are quite a few of great interest, even if they do no rise to the very top of the heap.

 

[Chop]

I have more than a dozen M5s and there are quite a few of great interest, even if they do no rise to the very top of the heap.

Yup that's often the case. My thing is Schubert lieder and some of the non mainstream older more obscure performances can be great.

 

[Al M.]

I've been comparing versions of Mahler 5th, just playing the Adagietto 4th movement.
Mainly looking for the most "enjoyable" performance, not so bothered about sound quality. The main performance things for me are looking for both emotion & beauty.

I played the following versions. remember, I am probably profoundly cloth eared compared to some of the Mahler experts on here. Its just my opinion.
Here's brief notes:

Bernstein on USA Columbia - Very slow, very "angst ridden". But beautiful. He pulls every last ounce of emotion from it.
Barbirolli on EMI, 1st coloured postage stamp label - Faster (a normal speed!), well balanced, though a bit soulless after the Bernstein.
Haitink on Phillips - Similar pace to Barbirolli, slightly more emotional performance. Beautiful crescendos, nuanced dynamics. Sort of a combination of the first 2.
Serkin on Everest. - Quickly dismissed as too fast and soulless.


Here's the preferences (Drum roll please...)
#1 Haitink !
#2 Barbirolli
#2 Bernstein a draw for #2

#4 Serkin

Very surprised to agree with my wife that the Haitink was our preferred performance. Did not expect that AT ALL, my starting assumption was that the Barbirolli would win.
A tie for #2 between Barb and Bernie. Slight preference for the Barbirolli just because the Bernstein was so slow and so far over the top, but its still beautiful. Special mention of the 3D sound quality on the Bernstein, which I loved. This pulled it up to a Bernie and Barb draw. I'll be playing the Bernstein more now.

Anyways, thought I'd share.

Inspired by your comparison of performances of Mahler's Adagietto from the Fifth Symphony I performed my own on the recordings that I have on CD.

Recordings:
* Kubelik/Symphony Orchestra of Bavarian Radio, DGG, 1971
* Antoni Wit/Polish National Radio Symphony Orchestra, Naxos, 1990
* Solti/Chicago Symphony, Decca, 1970
* Bernstein/Vienna Philharmonic (Live recording, 1987), DGG

I have to say, all performances are emotional, yet to my surprise, Bernstein with the VPO seemed the most subdued in tone, at least in parts if the movement, even though not in emotion (clocking in at an intermediate 11:13). But the sweetness of those Viennese strings!

Kubelik and Solti are under 10 minutes, but still passionate. And what passion from Solti and the Chicago Symphony! He gets to the most exalted surges and climax at the end.

Antoni Wit with the Polish National Radio Symphony Orchestra takes the longest time, 12:03, but how movingly felt. Also, the tone and precision from the Polish orchestra are wonderful. I have been a big fan of this orchestra since I saw them live with this conductor in Prague in 2012, spectacular. This recording of the Fifth also features the most ravishing brass climax at the end of the second, stormy movement -- even more exalted and energetic than the Bernstein and Solti, while Bernstein perhaps brings out the emotional ambiguity of this passage the most. Very good recording as well. (I am also astonished at the tone and sheer uncanny precision of the brass of this orchestra on their Varese recordings on Naxos).

Solti's Mahler Fifth overall is exciting as hell! And that Chicago brass! Story goes that when the Chicago Symphony toured Vienna in 1970, members of the Vienna Philharmonic were deeply impressed, perhaps even shocked, and said "those guys can play!". That's some compliment from members of an orchestra that is one of the very best in the world. This Mahler Fifth is also a rather great recording sonically. There are some outrageous dynamics of the brass in the 2nd movement.

Overall winners (entire symphony):
* Solti/Chicago Symphony
* Antoni Wit/Polish National Radio Symphony Orchestra

 

[Chop]

Hello AI M
Thanks for this, very interesting. Yours is a different Bernstein recording but it looks like the slower character remains
I haven't heard the Solti 5th. I only have a couple of his Mahler recordings but I do like his style & drive. I'll look for his 5th.

BR

 

[simorag]

Listening treat of the day.

A selection of less played Scarlatti sonatas, in an extremely skillful interpretation. The recorded sound from Naxos is just magisterial.

I adore Scarlatti on both harpsichord and piano, although I have a sweet spot for the latter, especially when used tastefully as in this case.

The variations of touch, the warmth, the enveloping fabric of overtones seem to add an inviting layer of emotional involvement to the endlessly rich inventive of this genius of the keyboard.

This series from Keshet is worth exploring!

It adds to my go-to Pogorelich (among my favorite classical disc of all times), Michelangeli and - for harpsichord - Ross.

 

[DasguteOhr]

important topic and an absolutely good song.donate some money it doesn't hurt.

 

[ecwl]

I listen to whatever Gramophone magazine recommends monthly.
But with work, I’m super behind so I’m still on their July 2023 recommendations.

So I’m splitting my time listening to Garrick Ohlson’s Beethoven Piano Concertos with Grand Teton Music Festival Orchestra and Kerson Leong’s Britten & Bruch Violin Concertos.

The Complete Beethoven Piano Concertos | Reference Recordings®

The Complete Beethoven Piano Concertos played by GRAMMY®-winning Garrick Ohlsson, performing with the Grand Teton Music Festival Orchestra, conducted by Sir Donald Runnicles.

referencerecordings.com

https://outhere-music.com/en/albums/britten-bruch-violin-concertos

But I’m also not sheep. So the former is interesting in many ways because it’s Reference Recording so the recording quality is also very high, not to mention it’s a very fine performance by Garrick Ohlson.
The latter features a fellow Canadian Kerson Leong so I’m curious about this artist.

 

[simorag]

I was feeling I needed some comfort tonight, so I rolled my most emotional tube in my amp, my favorite headphones and indulged myself with some marvelous Beethoven quartets.

The masculine, burnished, vibrant tone of the cello, the stentoreous resonances, the magical midair buoyancy of the players in the space around my head were just what I needed ...

As someone once said, if only the last B. quartets were all that survived the human race and aliens eventually visited the earth and found them, they were enough to testify that a worthwile form of intelligence has inhabited this planet.