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Current Listening Vol IX [2023]

379324 Views 19465 Replies 171 Participants Last post by  Art Rock
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Here we go again. In the past, this popular thread had to be re-started a number of times because the files got to big for the software used. The latest restart was with volume VIII, which accidentally practically coincided with the start of the new year 2022. Many members thought this was actually a good idea to pick a new year for a new thread, so with 2023 upon us (already or soon, depending on where you live), we are starting a new thread.

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
Current Listening Vol VII
Current Listening Vol VIII


A few suggestions (as if anyone bothers reading this):

Many members appreciate if you would not just post a CD cover or an embedded YouTube link. It would be helpful if you would post at least a short description (like composer, work, performers). This holds especially for videos, because not all YouTube videos can be seen in every country, and they tend to disappear over time.

It would be even better if you can post a little bit about your own take on what you are listening to. No need for extensive reviews, but a few lines would make the thread clearly more valuable to other members.

These are suggestions, not rules. They are not subject to intervention by the moderating team. :)

Have fun, Happy New Year, and enjoy listening to classical music as always!
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Fitzwilliam String Quartet
Shostakovich: String Quartets Nos. 3 & 11



Maxim Shostakovitch conducts David Oistrakh with the New Philharmonia Orchestra
Shostakovich: Violin Concerto No. 1


My first exploration of his work beyond the symphonies. Fact check: One of the first classical recordings I acquired—due to my collecting of all things Burns—was an album of Russian Burns settings including those of Shostakovich (example here).
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not the 4th...the 1st!

Fischer in Budapest performing Mahler.
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Richard Strauss (1864-1949): Vier letzte lieder (Four last songs) (1948), as recorded in 1996 by Renée Fleming (soprano) with the Houston symphony orchestra, conducted by Christoph Eschenbach.
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Felix Mendelssohn - 5 Symphonies & 7 Overtures (2001), LSO & Claudio Abbado


Symphony No.4 in A, Op.90 - 'Italian'
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Johannes Brahms
Symphony No.3

Herbert von Karajan & Berliner Philharmoniker

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Mahler
Symphony No 5 (1901–1902)

Bavarian RSO, Rafael Kubelík
Recorded: 1981
Label: Audite

I very seldom listen to this symphony these days. It was my introduction to Mahler, as it was and is for many others. You can probably say that I grew up with it. I think I was around seventeen the first time I heard it. As you probably know, there was no internet in the early 80’s, no YouTube, no Spotify :eek:. I couldn’t read a score and I hadn’t seen Death in Venice. I might have read about Mahler and about this symphony, but apart from that I had no idea what to expect (at that stage I was acquainted with some Beethoven, some Mozart, but very little else). I think it’s fair to say that my first encounter with Mahler was a little bit like being hit with a ton of everything. Out of nowhere. Which is probably what Mahler intended.

And now, forty years later, there is very little need for me to listen to Mahler 5. I still love it, of course. I still find it interesting. But I find 4, 6, 7, 9 and Das Lied von der Erde even more interesting. In fact, the only Mahler I listen to with some sort of regularity is 4, 9 and Das Lied. Those are the works that I keep returning to. When I do go back to the 5th it’s more like I’m checking up on myself. To see where I am now. And then, inevitably, I look back.

Scary stuff. But I guess it was time.
Very interesting post.

Although the first Mahler Symphony I ever heard at the ripe old age of 30 in 1990 (I 'fully' came to classical music late) was Vaclav Neumann's Czech Phil 3rd on Supraphon, it was Barbirolli's 5, soon after that really cemented my theretofrom life-long love of Mahler.

I too stepped down my listening of #5 due to over-familiarity. However, of late, I have returned to it and believe it to be his greatest utterance, possibly.

I now hold his instrumental mid-period (5-7) as at least the equal to the final works (DLVDE, 9th &10th).

Of late I've been listening to it about 6 or 7 times per week and have acquired about 10 new recordings in addition to the 15 or so I already have!
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Wilhelm Kempff – Trio, Quartet – Various Artists
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Great minds think alike, fools seldom differ....
Ha! Uh, wait . . .
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Luigi Nono (1924–1990)
2° No hay caminos, hay que caminar…..Andrej Tarkowskij (1987)
for seven choirs [orchestral groups]

WDR Sinfonieorchester Köln, Emilio Pomárico
Recorded: 2004
Label: Kairos

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Bartok, Concerto for Orchestra
Dutoit with the Montreal Symphony

I'm celebrating Bartok's birthday today, since obviously he can't.

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Very interesting post.

Although the first Mahler Symphony I ever heard at the ripe old age of 30 in 1990 (I 'fully' came to classical music late) was Vaclav Neumann's Czech Phil 3rd on Supraphon, it was Barbirolli's 5, soon after that really cemented my theretofrom life-long love of Mahler.

I too stepped down my listening of #5 due to over-familiarity. However, of late, I have returned to it and believe it to be his greatest utterance, possibly.

I now hold his instrumental mid-period (5-7) as at least the equal to the final works (DLVDE, 9th &10th).

Of late I've been listening to it about 6 or 7 times per week and have acquired about 10 new recordings in addition to the 15 or so I already have!
And I can see myself (more or less) dropping one symphony after the other. In the end it’ll just be me and Das Lied and a crop of unextinguishable regrets. (Ha!)
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6
Paul Hindemith - various keyboard works, a cappella choral works, songs etc.
part three for the rest of today, possibly concluding tomorrow morning.

Klaviermusik 1. Tiel - Übung in drei Stücken [Piano Music part one -
Exercise in Three Pieces
] op.37 (1924-26):


Kleine Klaviermusik (Leichte Fünftonstucke) op.45 no.4, from Sing und
Spielmusik für Liebhaber und Musikfreunde
for piano op.45 (1928-29):


(6) Lieder nach alten Texten [(6) Songs on Old Texts] for unaccompanied mixed
choir op.33 [Martin Luther/Burggraf zu Regensburg/'Spervogel'/Heinrich von
Morungen/Reinmar von Hagenau/anon.] (1923):
Eine lichte Mitternacht [A Clear Midnight] for unaccompanied male choir
[Text: Walt Whitman, trans. Johannes Schlaf] (1929):
Über das Frühjahr [On Spring] for unaccompanied male choir
[Text: Bertolt Brecht] (1929):
Du mußt dir alles geben [You Must Give Yourself Everything] for unaccompanied
male choir [Text: Gottfried Benn] (1930):
Fürst Kraft [Prince Kraft] for unaccompanied male choir [Text: Gottfried Benn] (1930):
Vision des Mannes [Vision of the Man] for unaccompanied male choir
[Text: Gottfried Benn] (1930):
Der Tod ("Er erschreckte uns, unser Retter") [Death ("He Frightens Us, Our Saviour"]
for unaccompanied male choir [Text: Friedrich Klopstock] (1931):

with the Rundfunkchor Berlin/Robin Gritton


Mathis der Maler - symphony for orchestra, arr. for piano duet (1934):


Das Ganze, nicht das Einzelne [The Whole, Not Singly] - song for soprano and
piano from (4) Lieder nach Texten von Friedrich Rückert (1933):
Der Tod ist'n eigener Mann [Death is a Strange Man] - song for soprano and
piano from (4) Lieder nach Texten von Matthias Claudius (1933):
Ich will nicht klagen mehr [I Will Complain No Longer] - song for soprano and
piano from (4) Lieder nach Texten von Novalis (1933):
Hymne - song for soprano and piano from (4) Lieder nach Texten von Novalis (1933):
(6) Lieder nach Gedichte von Friedrich Hölderlin [(6) Songs on Poems by
Friedrich Hölderlin
] - six songs for tenor and piano (1933-35):
(2) Lieder nach Texten von Clemens Brentano [(2) Songs on Texts by
Clemens Brentano
] for voice and piano (1936):


Song for voice and piano, arr. from (3) Exercises for Trautonium [Text: Georg Philipp
Friedrich Freiherr von Hardenberg a.k.a. Novalis] (1933):
(4) Lieder nach Texten von Angelus Silesius [(4) Songs on Texts of Angelus Silesius]
for soprano and piano (1935):
Das Köhlerweib ist trunken [The Charcoal Woman is Drunk] - song for voice and
piano [Text: Gottfried Keller] (1936):
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Again…

Witold Lutosławski (1913–1994)
Piano Concerto (1987–1988)

Garrick Ohlsson (piano), Filharmonia Wrocławska, Jacek Kaspszyk
Recorded: 2013
Label: CD Accord

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Carlo Maria Giulini conducts Verdi - Falstaff
  • Atto Primo ― Parte Prima
  • Atto Primo ― Parte Seconda
  • Atto Secondo ― Parte Prima
  • Atto Secondo ― Parte Seconda
  • Atto Terzo ― Parte Prima
  • Atto Terzo ― Parte Seconda
Los Angeles Philharmonic Orchestra
Los Angeles Master Chorale - Roger Wagner, Chorus Master

Renato Bruson baritone, Katia Ricciarelli soprano, Leo Nucci baritone, Barbara Hendricks soprano, Dalmacio Gonzalez tenor, Lucia Valentini Terrani mezzo-soprano

Live recording
Deutsche Grammophon 3LP box, 1983

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Recorder Virtuoso Lucie Horsch
Album Baroque Journey
Decca, released March 2019
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This is a thoroughly enjoyable album. None of the selections fail to please. The familiar Sammartini concerto is a high point; I've never heard it played so well. My local CM radio station has been playing it, and I imagine many fans of Baroque music are, like me, anxious to listen to all available recordings by Horsch and her collaboators.

Horsch plays a soprano recorder for all of the pieces except the Marais and Naudot, for which she plays an alto. For the Tollett, a recorder duet, Barbour-Condini plays a tenor (she is something of a specialist with the lower recorders). The first time I listened to the Bach concerto (BWV 1059R), I was not happy with the soprano recorder, which I found to have too high a voice. My favorite instrument for this concerto is organ, which is lower than soprano recorder and has a darker timbre. Ton Koopman's recording is fabulous. Modern flute is also good (as in the recordings with Rampal and Galway). Although I still wish Horsch had played an alto or tenor recorder for BWV 1059R, her playing with the soprano is brilliant and it is starting to grow on me. Anyway, the technical demands of a lower instrument might not allow the agility that Horsch deploys to great effect with the soprano.

The Academy of Ancient Music are great, and I think lutenist Thomas Dunford is a star. But the brightest star of this album is certainly Lucie Horsch, who is becoming my favorite recorder player. Her musicality and technique just blow me away.

The audio engineering is excellent, and the album is available on my streaming service at 24-bit 96 kHz. I don't think an SACD is available yet, but if one is issued I will buy it.
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just finished listening to piano sonata No. 14 & 15
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JS Bach: Brandenburg Concertos Nos. 1, 4 & 6 [Baumgartner]





These recordings date from 1959/1960. One is struck by how slow some of the tempi in Concerto No. 1 are. Is this setting a pace one wondered? The opening of Concerto No. 4 is, however, right up there with modern practice in terms of tempo and this continues throughout the work. Concerto No. 6 is, for me, a very successful presentation here. The ensemble comprises only 13 players and the music therefore, does not get bogged down in orchestral textural density. Tempi are also on the brisk side which also helps.


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