[aligreto]

JS Bach: Organ Works played by Kooiman

[From CD 2]
Trio Sonatas Nos. 1-3, BWV 525-527

 

[Bourdon]

Bach

 

[Bourdon]

JS Bach: Organ Works played by Kooiman

[From CD 2]
Trio Sonatas Nos. 1-3, BWV 525-527


View attachment 183413

Welcome aligreto

 

[Rogerx]

Bernstein: On The Waterfront

Orchestral Works

Royal Liverpool Philharmonic Orchestra, Christian Lindberg


Bernstein: Candide - Overture
Bernstein: Dance Episodes (3) from ‘On The Town'
Bernstein: Fancy Free: Three Dances
Bernstein: On the Waterfront
Bernstein: On the Waterfront: Symphonic Suite
Bernstein: West Side Story: Symphonic Dances

 

[Art Rock]

Claude Debussy: Préludes I & II, Images I & II, Estampes (Claudio Arrau, Philips, 2 CD's)

The 'somewhat random' pick of the day from the CD cabinets is this double album of Debussy's piano works by Arrau. A welcome chance to hear these once more.

 

[Monsalvat]

Franz Schubert: String Quartet No. 15 in G major, D 887
Quartetto Italiano (1977)
Paolo Borciani, violin; Elisa Pegreffi, violin; Piero Farulli, viola; Franco Rossi, cello

This was, I think, one of the first recordings I owned of the Quartetto Italiano, before I knew their Beethoven or Mozart. I could describe this work as "sublime," perhaps, in similar terms to how I would describe Schubert's string quintet and the late Beethoven quartets. Part of it is the scale; the exposition alone is six and a half minutes, and it's repeated, and the entire recordig is 55 and a half minutes long. Listening to this recording again, I was first struck by the resonance of the acoustic, and it's maybe a bit much for me but I got used to it. The sound is really good, and the way these four people play together also strikes me. Just listen to the opening phrases for a good example of this; there are big, sudden swings in dynamics from p to ff in just two measures' space, but the cohesiveness of this quartet means that nobody is ever, even momentarily, too loud or too soft. It's probably been months since I've heard this quartet but it still gives me that sense of awe that I had when I first heard it. And that reminds me, I need to hear his quintet too... and the other late quartets...

 

[Rogerx]

Schumann: Piano Quintet Op. 44 & Piano Quartet Op. 47

Jürg Dähler, Urs Walker, Valérie Dähler-Mulet, Daniel Haefliger, David Abbott

Swiss Chamber Soloists

 

[HenryPenfold]

Being an "armchair listener" has allowed me to get to know so many composers that never get any concert programming. My own CD collection is a made up of breadth and depth. I've never cared anything about the standard repertoire (even though I do in some cases end up listening to it) and I listen based on impulse and what I want to hear in that given moment. I would love to go to more concerts as my local orchestra is one of the great ones (or used to be), but so often the programming is what has kept me away. I had the opportunity to go see Britten's War Requiem not too long ago, but I decided I would rather spend an evening with a composer whose music I have been meaning to explore and often this kind of thinking permeates my mind whenever considering to go to a concert as well. For me, a lot of times, the effort I make to more unknown music ends up being more enriching than going to see an orchestra perform Beethoven's 9th for the one millionth time.

Anyway, I do hope you explore Milhaud's music. He was certainly one of the more well-known members of Les Six and with good reason: he had a distinctive compositional voice.

There's no substitute for a live concert and no excuse to not go to one, even for works you think you know inside-out.

 

[Vasks]

A. Romberg - Overture to "Die Grossmut des Scipio" (Andrae/Thorofon)
Beethoven - String Quartet #10 (Talich/Calliope)
Silcher - Variations on the Folk Song "In einem kuhlen Grunde" (Wenckus/Carus)

 

[Enthusiast]

There's no substitute for a live concert and no excuse to not go to one, even for works you think you know inside-out.

My excuse is that a journey to a concert would take me several hours and to get back after it I would have to wait until the next morning, having slept in a hotel or the station. There are occasionally chamber concerts nearer but even they can involve complicated logistics.

 

[Enthusiast]

After all the talk about this set yesterday I thought I would play some of it: symphonies 6, 8 and 3. They are very good, of course, and Rozhdestvensky certainly gets the idiom (i.e. as well as being the wonderful conductor that he is).

 

[Bourdon]

Beethoven

piano sonatas 4-5 & 6

 

[aligreto]

Mozart: Symphony No. 38 “Prague” [Mackerras]

I find that the Adagio opening of the first movement is crisp, assertive and dramatic with a touch of menace to it. The transition to the allegro section is seamless and this section is taken at quite a pace. It is exciting and thrilling. The conclusion to the movement is very strong.
The slow movement is not too lush sounding but it is full sounding. I like this balance. The tempo seems almost perfect for this delicate and refined sounding presentation.
The presentation of the final movement returns to the tempo and tone of the opening movement and Mackerras drives it along very well. Nothing feels rushed, however, to me; just exciting.
The sound is excellently recorded here and the quality of the orchestration throughout is clearly heard.

 

[Kiki]

Hebert Vázquez
El árbol de la vida (The Tree of Life)
Pablo Garibay, guitar
Orquesta Juvenil Universitaria Eduardo Mata
Gustavo Rivero Weber
Rec. 2018
Naxos

A disc dedicated to Mexican music. Vázquez's El árbol de la vida is full of juxtapositions and contrasting dance rhythms, and the amplified guitar (and the supporting celesta I believe) is fantastic.

 

[aligreto]

Welcome aligreto

Thank you for the welcome.
I suspect that we have already met somewhere else.

 

[Neo Romanza]

There's no substitute for a live concert and no excuse to not go to one, even for works you think you know inside-out.

Sure, there's nothing like hearing a work in a live context, but besides having a lot of CDs at my disposal, I simply do not feel up to making the pilgrimage to see my local orchestra perform. They're about an hour away and this involves getting caught in some horrendous traffic on a multiple lane interstate, which I don't believe I could handle as I don't view myself as a good driver (not that I've had many accidents in my many decades of driving). I could call a taxi or rent a car service, but the whole evening would end up costing me a lot of money, which I'd rather spend elsewhere to be honest.

 

[Neo Romanza]

Thank you for the welcome.
I suspect that we have already met somewhere else.

Great to see you, @aligreto. There are many of us here from the 'other' forum.

 

[Neo Romanza]

NP:

Strauss
Oboe Concerto in D, AV 144
Alex Klein, oboe
CSO
Barenboim

 

[Monsalvat]

Franz Joseph Haydn: Symphony No. 92 in G major, “Oxford”
George Szell: Cleveland Orchestra (1949)

This recording was made three years after Szell took over the Cleveland Orchestra. It's in fairly good mono sound. Already, Szell gives an upright, balanced, and crisp performance. By 1957, the year of their first tour of Europe, the Szell/Cleveland partnership would be at its zenith, but they were already really good this early into Szell's tenure there. Szell and the Cleveland Orchestra would re-record this symphony in 1961, in stereo.

Franz Joseph Haydn: String Quartet in D minor, Op. 76, No. 2, “Fifths”
Quartetto Italiano (1965)
Paolo Borciani, violin; Elisa Pegreffi, violin; Piero Farulli, viola; Franco Rossi, cello

 

[Rogerx]

Haydn: Symphony No. 94 'Surprise'; Symphony No. 96 'The Miracle'

Academy of St Martin in the Fields, Sir Neville Marriner