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Current Listening Vol VII

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#1 · (Edited)
Current Listening Vol VII

A new thread for the same subject matter.

The previous thread, Current Listening Vol VI has become another huge file and slow to load. Since this particular thread is the most popular one on the site, we have created this new volume to continue posting.

Taggart,
Senior Moderator

Links to previous Current Listening threads:
Current Listening Vol I
Current Listening Vol II
Current Listening Vol III
Current Listening Vol IV
Current Listening Vol V
Current Listening Vol VI
 
#4,361 ·
The real reason behind this post is a YT link a friend of mine (also a crazy collector and great listener) sent me some days ago about Mr. Hurwitz and his opinion for Dvorak's best symphonic circles. Obviously my friend didn't agree with Mr. Hurwitz. I personally found what Mr. Hurwitz said OK, except his first (TOP) choice (Rowicky) which is VERY interesting but, in any case, not better than Kertesz's. Also, and I'm happy about this, his declaration (I told this before 15 months) that Belohlavek's edition is by far the worst made me understand that the man has a good ear and taste. But, and this is a common listeners problem nowadays, what Mr. Hurwitz doesn't have is enough recordings to establish an even better opinion. Because, as I have seen, he forgot (or ignored) Kosler's circle (1962 to 1964, IF I can remember correctly) with the Slovak PO which for us the collectors is almost a paradigm how Dvorak must be performed. Zdenek isn't better than Kubelik, but ALL of the Symphonies are in one VERY high level without Kubelik's weaknesses with one or two and his greatness with the rest... (the 9th, this is an example, isn't a problem. Everybody performs well the 9th (it is the 5th, but let us say 9th) The problems are starting with the 1st and the 2nd, where the great composer is looking to find the character of his music. There, the conductor MUST know what he has to do.) Kosler KNOWS! Look out for this circle, if you want to have a complete / unrestricted Dvorak's experience. (Victor, Japan, 7XLPs Set)

Plant Font Tree Poster Rectangle
 
#4,364 · (Edited)
Shostakovich - Preludes and Fugues Nos. 11-13 - Tatiana Nikolaeva (piano)


Shostakovich - Symphony #1 - Bernard Haitink/London Philharmonic Orchestra

Haitink's excellent '80s Shostakovich cycle with the Concertgebouw and London Philharmonic was a big deal at the time...or at least it was for me.
 
#4,365 ·
I've listened to Kubelik's Dvorak set at least three times. It's superior to almost every Dvorak Symphony cycle including Kertesz, Rowicki and Neumann.Simply the best in terms of consistency.
I like them all! Kertesz's is probably the sentimental favorite, it was my first Dvorak cycle and my first exposure to the composer, but I do appreciate Rowicki, Kubelik, Neumann, Pesek and others. But then I am a Dvorak nut!
 
#4,371 ·
Bedřich Smetana - various works part one of two while I wait for the locksmith.

Smetana's output was quite widespread but it was opera where his true ambitions lay and which comprises the largest part of his output - and typically I haven't got any by him!

For anyone who enjoys the Má Vlast cycle I'd recommend Smetana's three other tone poems if they haven't already heard them - although two of the subjects aren't Czech like Má Vlast they are still rich and vivid like their later, more famous siblings.

Smetana's piano music is usually overlooked - admittedly most of the pieces on the two discs I have are salon polkas but there are savoury pickles dotted amongst the sweeter bonbons. There are some agreeable changes of pace and mood with the choral works, too, despite most of them being patriotic and/or folk-based.

The early-ish piano trio was one of Smetana's few forays into chamber music - although not lacking in accomplishment it is nevertheless overshadowed by the two masterly string quartets from the later period of his life.

Bagately a impromptus [Bagatelles and Impromptus] - eight pieces for piano op.6 (1844):



Polka in F-minor for piano (c. 1853):
Polka in A for piano (c. 1853 - comp. 1883):
Polka in E for piano (c. 1853):
Polka in G-minor for piano (c. 1853):
Tři salonní polky [Three Salon Polkas] for piano op.7 (1848-54):
Tři poetické polky [Three Poetic Polkas] for piano op.8 (1854):
Vzpomínky na Čechy ve formě polek [Souvenir of Bohemia in the Form of Polkas] - two pieces for piano op.12 (1859-60):
Vzpomínky na Čechy ve formě polek [Souvenir of Bohemia in the Form of Polkas] - two pieces for piano op.13 (1859-60):



Piano Trio in G-minor op.15 (1855 - rev. 1857):



Richard III - tone poem after William Shakespeare for orchestra op.11 (1857-58):
Wallenstein's Camp - tone poem after Friedrich Schiller for orchestra op.14 (1858-59):
Hakon Jarl - tone poem after Adam Oehlenschläger for orchestra op.16 (1860-61):



Píseň svobody [Song of Liberty] for mixed choir and piano [Text: Jiří Kolář] (1848):
Píseň česká [Czech Song] for unaccompanied male choir [Text: Jan Jindřich Marek a.k.a. Jan z Hvězdy] (1860):
Tři jezdci [The Three Riders] for unaccompanied male choir [Text: Jiljí Vratislav Jahn] (1862):
Česká píseň [Czech Song] for mixed choir and orchestra [Text: Jan Jindřich Marek a.k.a. Jan z Hvězdy] (1868 - rev. 1878):
Odrodilec [The Renegade] for unaccompanied male choir [Text: Ambrož Metlíňský] (1863-64):
Odrodilec (II) [The Renegade (II)] for unaccompanied male choir - second version [Text: Ambrož Metlíňský] (1864):

 
#4,373 · (Edited)
Gustav Mahler (1860-1911)
Berlin Philharmonic Orchestra, Herbert von Karajan, Christa Ludwig. Deutsche Grammophon.

A serious, concentrated afternoon's listening. I may be away some time .........

5 Ruckert Lieder

  1. Blicke mir nicht in die Lieder! (Look not, love, on my work unended!) - 14 June 1901
  2. Ich atmet' einen linden Duft (I breathed the breath of blossoms red) - July 1901
  3. Ich bin der Welt abhanden gekommen (O garish world, long since thou hast lost me) - 16 August 1901
  4. Um Mitternacht (At midnight hour) - Summer 1901
  5. Liebst du um Schönheit (Lov'st thou but beauty) - August 1902
INTERMISSION

Symphony No.6 (1903-04, revised 1906)

  1. Allegro energico, ma non troppo. Heftig, aber markig.
  2. Scherzo: Wuchtig
  3. Andante moderato
  4. Finale: Sostenuto - Allegro moderato - Allegro energico



 
#4,374 ·
By coincidence, my current listening is this unusual recording by the "Ludus Modalis" under Bruno Boterf - unusual in that it's based on an early edition of Monteverdi's score, where ritornelli and instrumental embellishments are marked as optional. Despite lacking the high-octane instrumental splendour of mainstream versions, this recording puts more of a spotlight on the voices, which are luckily top-notch here:

View attachment 151867

I bought this on a whim a couple of days ago, and I'm glad I did. A beautiful recording, and a very pleasant surprise!
I'll seek this out myself

:angel:
 
#4,376 ·
Stabat Mater - Italian Sacred Music from the 18th Century

Abchordis Ensemble, Marie Lys (soprano), Andrea Buccarella, Antonio Masotti (bass vocal), Luca Cervoni (tenor), Maria Chiara Gallo (mezzo-soprano)
Everyday when I come here I am influenced by the excellent selections of fellow posters. Yet another. :tiphat:
 
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