Recent Blogs Posts

This week’s Tuesday Blog ushers in the return from our Summer semi-hiatus and to our bi-monthly format. For September, I have two posts planned (and, for reasons of programming logistics, there won’t be a “fifth Tuesday” montage for the quarter). Among other news. In addition to our traditional YouTube share, I am also posting this share to my podcasting channel – check it out when you have a chance!

Three of the final four Cover2Cover shares this year will be dedicated to Mozart,

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1. Kremer, Gridenko, Schnittke, Sondeckis (cond.), Lithuanian Chamber Orchestra (1977)




2. Mullova, Donderer, P. Järvi (cond.), Estonian National Symphony Orchestra (2017)




3. Kremer, Gridenko, Tepp, Klas (cond.), Kremerata Baltica (1998)

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1. Furtwängler (cond.), Berlin Philharmonic Orchestra (1953)




2. Sawallisch (cond.), Staatskapelle Dresden (1972)




3. Szell (cond.), Cleveland Orchestra (1960)

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For the last few installments of our #Beethoven2020 series, we considered Liszt’s transcriptions of Beethoven’s symphonies no. 4, 5 and 6. Today, we return to the orchestral versions of these symphonies, with Otto Klemperer’s renditions of the symphonies number 7 and 8.

According to the Penguin Guide, Klemperer recorded his first cycle of Beethoven symphonies for EMI with the Philharmonia orchestra from 1954 onwards, in mono. He made another series from 1961, recording in stereo.

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The last of Wagner's early operas and his overall longest opera ever at 4 hours and 40 minutes. There's lots of pomp and circumstance here with choruses and ensembles, processions, and a 39 minute ballet. It was well worth the long time to listen to it all in my opinion. I actually quite like its over-the-top nature.

There are many great selections. The overture, the opening scene, the Act I final, the Act II opening, the ballet, the Act II final, Adriano's aria "Gerechter Gott",

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