Thread: Current Listening Vol V

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    Senior Member pmsummer's Avatar
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    CHRISTMAS WITH CHANTICLEER
    Vaughan Williams - Tavener - Distler - </b><span style="font-weight: normal;"><b>Mäntyjärvi - Bold - Willan - Gruber - Traditional
    Chanticleer
    Dawn Upshaw - soprano
    Joseph Jennings - music director

    Teldec Classics
    P.M. Summer
    simul justus et peccator

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    Senior Member pmsummer's Avatar
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    VERLEIH UNS FRIEDEN GNÄDIGLICH
    16th - 17th Century German Protestant Church Music
    Hille Perl - treble viol
    Anna Maria Friman - soprano
    Lee Santana - lute
    Sirius Viols

    Deutsche Harmonia Mundi
    P.M. Summer
    simul justus et peccator

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    Senior Member Bourdon's Avatar
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    Quote Originally Posted by Enthusiast View Post
    I've got one somewhere - or at least a recording that includes him. He is the named violinist on a baroque record (Telemann led by Gustav Leonhardt) ... before he turned to popularising and became famous.

    Attachment 128505
    The Rieu you are refering to is his father who was a conductor

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    Senior Member 13hm13's Avatar
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    Carl Maria von Weber : Der Freischutz - Overture ... on this...

    front.jpg

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    Default N. Kraft -- cello conc.

    Of what I've heard from this composer thus far, N. Kraft's first 3 CCs are lovely -- especially the slow mvts.





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    Senior Member Rogerx's Avatar
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    Beethoven; Piano sonatas: OP.101 and Op.106
    Daniel Barenboim.
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

    "Liberté, égalité, fraternité"

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    Senior Member 13hm13's Avatar
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    Beethoven - The 9 Symphonies
    Philippe Herreweghe , Antwerp Symphony Orchestra (Royal Flemish Phil.)

    Ludwig van Beethoven

    I just started on this box set, and with the 5th in particular. I like what I hear and will make my way thru the collection (unless the trend discontinues for some reason) ...

    cover.png

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    "Everyone is born with genius, but most people only keep it a few minutes"

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    Berlioz: Symphonie fantastique/Fantaisie sur La Tempête de Shakespeare (from Lelio)

    Toronto Symphony Orchestra, Toronto Mendelssohn Choir, Sir Andrew Davis
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

    "Liberté, égalité, fraternité"

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    Mozart: Piano Concertos,: 20-21 and Don Giovanni, K527: Overture

    Jean-Efflam Bavouzet (piano)

    Manchester Camerata, Gábor Takács-Nagy
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

    "Liberté, égalité, fraternité"

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    Ravel - Piano Music for Four Hands

    Louis Lortie, Hélène Mercier (piano)



    Introduction & Allegro for 2 pianos
    Introduction & Allegro for Harp, Flute, Clarinet and String Quartet
    La Valse
    La Valse (for 2 pianos)
    Ma Mère l'Oye
    Rapsodie Espagnole
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

    "Liberté, égalité, fraternité"

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    Senior Member Lilijana's Avatar
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    Marco Momi Almost Nowhere

    There are three pieces on this, and only the third with which I am already familiar. Ludica III includes an array of electronic sounds in conjunction with the more traditionally acoustic sounds drawn from Nikel, the featured ensemble on this disc made up of saxophone, electric guitar, percussion and piano. Although this is something I would certainly love a lot, unfortunately some of the electronic diffusion might sound better on speakers rather than headphones (there are a few blips, clicks and high pitched beeps that get a little too far inside my ear for my taste), but there's a really colourful interplay between all sounds that create an enchanting little world for the ears to explore.

    Tre Nudi, Quattro Nudi, Cinque Nudi, Sei Nudi is a cycle presented as one work, one listening experience. It is a lot more sparse and drawn out in its exploration of musical ideas and sonic textures, but with enough variety and a strong enough sense of structural pacing (for each part of the cycle, at the very least) that Momi's music rarely feels self indulgent. Though it's 37 minutes long, the relaxed pace almost lulls the listener into a trance and shortens the perceived time span just a little. The only real drawback for me is that sometimes the episodic nature of this work can feel a bit uninspired by comparison to the previous piece. However, I do like the electronics in it more than the first piece.

    Almost Nowhere is an utterly gorgeous work; there is a sense of ebb and flow in the music that comes across from the interrelation between dynamic shape, melody and the relative density of timbres at any point in time. Probably my favourite thing on this release. I highly recommend this piece for a rather calm yet totally fascinating, inventive and colourful contemporary music experience.

    Just don't read the dreadful, pseudo-philosophical booklet that comes with the CD and you'll be fine!


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    Senior Member haydnguy's Avatar
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    Liszt

    Orchestral Works

    Herbert von Karajan
    Berliner Philharmoniker

    Les Preludes (d'après Lamartine)

    The earliest version of this preface was written in March 1854 by Liszt's companion Princess Carolyne zu Sayn-Wittgenstein.[8] This version comprises voluminous reflections of the Princess, into which some lines of quotations from the ode by Lamartine are incorporated.[9] It was drastically shortened for publication in April 1856 as part of the score; there only the sentence, "the trumpet sounds the alarm" and the title "Les préludes", survive from Lamartine's poem.

    A different version of the preface was written for the occasion of a performance of Les préludes on December 6, 1855, in Berlin. In the 1855 version the connection with Lamartine is reduced to his alleged query, "What else is our life but a series of preludes to that unknown Hymn, the first and solemn note of which is intoned by Death?"[10] However this sentence was actually written not by Lamartine, but by Princess Wittgenstein.
    ************
    The four sections of this music evoke different stages of life, and are linked thematically so that we hear the music as a single movement consisting of four contrasting mood sections. The very first three notes (C falling to B and then rising to E) signal the main theme or motto which is subsequently heard in various transformations. The first marked maestoso (majestic) is called "Spring and Love"; then comes the wilder "Storms of Life". Gradually the music calms to a pastoral mood for "Consolations of Nature" in which the theme is given out in gentle woodwind solos, and finally, "Struggles and Victories" has a martial trumpet version.


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    Beethoven: Cello Sonatas Nos. 1-5 and variations

    András Schiff (piano) & Miklós Perényi (cello)


    Cello Sonata No. 1 in F major, Op. 5 No. 1
    Cello Sonata No. 2 in G minor, Op. 5 No. 2
    Cello Sonata No. 3 in A major, Op. 69
    Cello Sonata No. 4 in C major, Op. 102 No. 1
    Cello Sonata No. 5 in D major, Op. 102 No. 2
    Cello Sonatas Nos. 1-5 and variations
    Cello Sonatas Nos. 1-5
    Variations (12) on "Ein Mädchen oder Weibchen" for Cello and Piano, Op. 66
    Variations (12) on "See the conquering hero comes" for Cello and Piano, WoO 45
    Variations (7) on "Bei Männern, welche Liebe fühlen", for Cello and Piano, WoO 46
    Horn Sonata in F major, Op. 17
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

    "Liberté, égalité, fraternité"

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    Senior Member Malx's Avatar
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    Schumann, Davidsbundlertanze - Boris Berezovsky.



    Schumann Berezovsky.jpg

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