What are you listening to now ?

[Pastorali]

Libero Pastorello???

Antonio Vivaldi
Violin Concertos for the lovely Anna Maria
What a beautiful recording!
Mariana Sirbu - I Musici

[Geratlas]

Originally posted by Gurn Blanston:
GuErRilla,
Oh, you just come and make a quick strike then "hey, presto" it's gone for now! So good listenings.

Dear GUeRNica!!! Am I perceived as a subtle kamikazi bomber, maybe?: "just come and make a quick strike then 'hey, presto' it's gone for now!" Good Heavens (there are said to be 7 of them, but I never could keep record.) - Then I must have my Renaissance after all!Let me move to what is relevant, here.

Originally posted by Gurn Blanston:
Who was playing those lovely Diabelli's? Also, your opinion of the Dvorak, you think the 8th is the best of his symphonies? I do, followed by the 7th. And Wellington's Victory... I like to listen, but not too often, strange piece of work.

Primo) Executor of LvB's Op.120 is one Mr. Konstantin Sherbakov, an performer otherwise anonoyme to me.
Secundo) To justify an answer for the question of which Dvorak Symphony is the best-liked, one may have experienced them all, and luckily I have (Nos.'1'to'9'are all there are, true?) Personally I find Nos. 5, 7, and 9 to be more coherent, than No.8, which got nearly Schubertian hallmarks, but perhaps comes out as a bit too rhapsodic, in the end. On the other hand I hold its slow movement to be his most genuine and 'best' (Gurn, Is it an Adagio?). At present I say No.6 is his finest, and No.9 his greatest. But when you have countered me to the equal question, I might actually have changed my mind.
terso) You didn't ask for this, but as I termed Wellington's victory, LvB's op.91 as "a must", you seem to keep it in moderate esteem. If so, would you like to share the reason why? If not - don't bother. Have a good time! - Like me:
Berwald: Opera Overture 'Estrella di Soria', LvB: Minuet (Hess#33), Mozart: Harp Concerto, Schubert: Gebet (part song) Dvorak: Czech Suite (op.39, I think), LvB. Folksong settings, Händel: Concerti grossi, Op.3, and next presumably my latest investment (last Friday): miscellaneous works by Purcell. All Real exciting, of course!
Later: Schumann: 'Kinderszenen', and... hmm.
Must get to sleep, so I will not proceed much far than 'Träumerei'...
Then there is always tomorrow.
*signer note / Your pro.so. GeErR... sendin-hey, prestizzzzzimo... Zzz

[Gurn Blanston]

King,
Hey, I have a couple of Rosetti disks and you're right, they are really fine. Compared to his peers, like Dittersdorf and Vanhal, he seems to have a bit more... originality and liveliness, like it is not always easy to guess what the next modulation will be to. Well, if I could only have 50 years, and everything outside of that didn't exist, it would be the heart out of your range, 1780 to 1829. Fully 75% of the music I listen to most comes from that time period. Gotta love it!

Spacerl,
No, the only Hubay I have is from Shaham's "Fiddler of the Opera" and it is that Carmen Fantasy I mentioned before. I am probably going to look around for some, I expect there won't be a disk of just him, probably a violin showpiece compilation will have it though. Hey, I bet that Boccherini is nice! We will find you a minuet somewhere. Voulez vous un pas de deux?

Joy,
Oh, Amalie has been talking about Carmignola as the second coming! I really would like to hear him, thus I will soon. You sound suitably impressed also.

Pastrl,
Great way to start the day, and not a bad way to end it either. Bona Nox!

For me, it is the Overture to Peter Schmoll by Carl Maria von Weber. Don't know much about Peter Schmoll, and just a bit more about Weber, but it sure sounds good!


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Regards,
Gurn
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That's my opinion, I may be wrong.
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[Amalie]

[QUOTE]Originally posted by Gurn Blanston:
[B]King,
Hey, I have a couple of Rosetti disks and you're right, they are really fine. Compared to his peers, like Dittersdorf and Vanhal, he seems to have a bit more... originality and liveliness, like it is not always easy to guess what the next modulation will be to. Well, if I could only have 50 years, and everything outside of that didn't exist, it would be the heart out of your range, 1780 to 1829. Fully 75% of the music I listen to most comes from that time period. Gotta love it!

Spacerl,
No, the only Hubay I have is from Shaham's "Fiddler of the Opera" and it is that Carmen Fantasy I mentioned before. I am probably going to look around for some, I expect there won't be a disk of just him, probably a violin showpiece compilation will have it though. Hey, I bet that Boccherini is nice! We will find you a minuet somewhere. Voulez vous un pas de deux?

Joy,
Oh, Amalie has been talking about Carmignola as the second coming! I really would like to hear him, thus I will soon. You sound suitably impressed also.

========

Sure Gurnie, I know what I like.
I have read some folk hold that a baroque violin cannot deliver tonal beauty!
Sadly, they haven't figured that beauty comes in different packages.
Biondi and Manze well reveal the beauty of the baroque instrument, and Carmignola is also in this category. There is none better that Carmignola for tonal appeal, his tone is constantly gorgeous. I didn't state that, but I sure-fire agree!


Bach to listening this am.

Bach: Overture , from Suite no.1 BWV1066 (and all that)

Bach: Quintett in F, 0p.11, no.3
Les Adieux

Ludovico Giustini: (a contemporary of Bach)
Sonata in F, 0p. 1 no.6
Melvyn Tann (fortepiano)


Iet Stants: String Quartet no.2
Dufy Quartet.

Beethoven: Piano Sonata , 0p.101
Stephen Kovacevich (piano)

Beethoven: An die ferne Geliebte, 0p.98
Peter Schreier, (Tenor)
Walter Olbertz, (Piano)


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~ Unsterbliche Geliebte ~



[This message has been edited by Amalie (edited 10-01-2004).]

[Gurn Blanston]

Ger,
Ah, I have heard Sherbakov's name, but never heard any of his playing. Another huge gap in my resumé! As for Dvorak, coherent, yes, that can be so. I am not a great seeker of coherence, as you can tell by my occasional ramblings The themes of the 8th and their excellent developements are what appeals to me. One can always find it difficult to define exactly what the particular appeal of one piece over another, although for me these things are nearly always more visceral than structural. Yes, definitely an adagio slow movement in #8. I agree that #6 is most excellent too.
As for Wellington's Victory, as I say I enjoy it on occasion, but when youy look at the music around it, the Sonata Op 90, the 7 & 8 Symphonies, the Serious Quartet, it can scarcely stand in this company. However it was B's most popular piece in his lifetime, which says more about the Viennese of the time than it does about the music, I'm afraid! Good Listening to you!

Amalie,
I have heard those same arguments advanced, of course my opinion is that the world level of bull will never drop to safe levels as long as people have ideas like that! It is like fortepianos, we like their tonal qualities, others don't, and as far as that goes, it could end there, but Noooo.., it always turns into a concerted attack on your good sense. Sorry to get carried away, but I have been also fighting this battle on other fronts, so I have saved some up! Curious which Bach is the Quintett, CPE?

For me, it is the Symphony in A major, Op A9 - Johann Baptiste Vanhal. Yet another huge name in his time that history has sadly overlooked. I like the opus numbering system for this guy, this is his 9th symphony in A, thus A9. I see D17 on here too. Guess he wrote a bunch!


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Regards,
Gurn
~~~~~~~~~~~~~~~~~~~~~~~~
That's my opinion, I may be wrong.
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[This message has been edited by Gurn Blanston (edited 10-01-2004).]

[Amalie]

[QUOTE]Originally posted by Gurn Blanston:
[B]Ger,
Ah, I have heard Sherbakov's name, but never heard any of his playing. Another huge gap in my resumé! As for Dvorak, coherent, yes, that can be so. I am not a great seeker of coherence, as you can tell by my occasional ramblings The themes of the 8th and their excellent developements are what appeals to me. One can always find it difficult to define exactly what the particular appeal of one piece over another, although for me these things are nearly always more visceral than structural. Sorry, I don't have my recording here at work today so I can't check that, I will at home though. Maybe an Andante though. I agree that #6 is most excellent too.
As for Wellington's Victory, as I say I enjoy it on occasion, but when youy look at the music around it, the Sonata Op 90, the 7 & 8 Symphonies, the Serious Quartet, it can scarcely stand in this company. However it was B's most popular piece in his lifetime, which says more about the Viennese of the time than it does about the music, I'm afraid! Good Listening to you!

Amalie,
I have heard those same arguments advanced, of course my opinion is that the world level of bull will never drop to safe levels as long as people have ideas like that! It is like fortepianos, we like their tonal qualities, others don't, and as far as that goes, it could end there, but Noooo.., it always turns into a concerted attack on your good sense. Sorry to get carried away, but I have been also fighting this battle on other fronts, so I have saved some up! Curious which Bach is the Quintett, CPE?



Gurn, The Quintett was by JC Bach, JS Bach's 11th son.
I quite sympathise with what you are saying about the fortepiano discussions, I like my questions answered, even if I get it wrong. It is important to widen our knowledge, receptiveness and appreciation for period instruments.
I have recently ordered an interesting double CD set, on Beethoven's Sonatas for violin & and piano. It is a - Study in Contrast: Historical and Modern Instruments. I know this is going to be very interesting. I had to order through a London Classical Music Specialist Shop.


Just listenend to Max Bruch: Violin Concerto, performed by, Boris Brovtsyn


Did you get the opportunity to hear Biondi play ?


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~ Unsterbliche Geliebte ~



[This message has been edited by Amalie (edited 10-01-2004).]

[Joy]

Gurn: I quite agree with Amalie about the violinist Carmignola. I did enjoy his rendition of Vivaldi's Four Seasons. Also you mentioned Beethoven's Wellington Victory, that was played alongside of his 7th Symphony at a premiere concert and the people enjoyed that one more! I think it had a lot to do with the political status of the country at that time. It reminds me of the songs of the Vietnam War, they were very political and performed all the time back then but where are they now? Once the war was over so are the songs. There's a time and place for everything.
Last night on NPR: It was the Ernst Senff Choir and the Chamber Orchestra of Europe, conducted by Claudio Abbado who performed the Shepherd's Chorus from Rosamunde by Franz Schubert. "The Rosamunde Overture and the Entra'acte (or Interlude) are two of the famous pieces that have survived from this incidental music that Schubert wrote in 1823."


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'Truth and beauty joined'

[Geratlas]

Gurn my friend! Why do you refer to me as "GER"? I know, it is not polite to ask in such a manner but have this childish inquiry...
I couldn't think of calling you "GUR" (even though apparently just did).

Originally posted by Gurn Blanston:
I am not a great seeker of coherence, as you can tell by my occasional ramblings The themes of the 8th and their excellent developements are what appeals to me.

Thank you for a swift reply. Sherbakov (I wasn't sure it was his correct name), Dvorak: "SHER" and "DVOR" as we're rambling... I am glad the Eighth Symphony is a favourite to you. It's to me too, but perhaps more from things associated with it other than it by itself. Every movement has an lofty and balnaced atmosphere of its own. Dvorak never disappoint you in regard of musical genuity, I think. I like to see him as an heir to Schubert in terms of being musicant. Oh, Gurn, so his Sixth are taken care of as well: What about No.4. It was long ago I played it, since I only have it on cassette but am without cassette player... Bla, bla, bla... I played many a day during a summer many years ago, and it strongly affected me. By its cheerfulness, and kind of sadness intertwined. Your say?
I have read you had a go at No.1 not too long ago, 'Bells of Zlonitz', right? I prefer No.2 to this. Do you?

Originally posted by Gurn Blanston:
As for Wellington's Victory, as I say I enjoy it on occasion, but when youy look at the music around it, the Sonata Op 90, the 7 & 8 Symphonies, the Serious Quartet, it can scarcely stand in this company.

Don't put it in the company of those works, then. It stands by its own merits, doesn't it. The music is all the same not nearly as complex perhaps but it got so many original features to it that it by 1813/4 was quite exceptional. One must not count it to the 'unvaluable' lot of LvB's oeuvre, clearly, but don't you think it is a work every Beethovenian ought to discover?
That's my opinion - I may be wrong.

Not much listening for me today (or tomorrow for that matter): Brahms' First Symphony in the early morning, it was, and now Mozart's Concerto for piano No.9 (originally harpsichord, is it - Or cembalo - Which one?
I long to hear Fidelio but for me there is not the time required. / You will hear from me soon enough / G.

[Gurn Blanston]

Amalie,
Oooh.. you guys get all the best disks. That's it, I'm moving to London! Look out, Beefeaters! No, I was aced out of that Biondi at the last second by someone lying in wait. I hate that! So, that would be the Bruch #1 in g minor, I'm guessing. His other 2 are as good or better, sorely neglected too.

Joy,
Good comparison, I haven't heard "Ballad of the Green Berets" in a real long time! That Rosamunde is super, the whole incidental music is first rate. Pity Franzrl didn't do any opera, he certainly had the talent it seems.

Ger(atlas),
No disrepect intended, long names are an ordeal for me. In Texas, it is a sign of friendship to use a diminutive. Fortunately, I dont call you GerN! Interesting idea, Dvorak and Schubert. I think D is definitely a composer in the "old style" in a lot of his works. His string quartet in C, #11 I think, sounds like it could have been composed 75 years earlier. Perhaps that is the key to his appeal for me. I like all of his symphonies in approximately equal measure. Even the "Bells of Zlonice" is quite respectable for a first effort. Certainly his greatness becomes more apparent from #4 and after. His style becomes more concise, a lot of the seeming wandering around is eliminated. I think he really shines in chamber music though, he has mastered the intimacy of that medium, and the lovely folk-type tunes that he uses are much more in evidence.
No, you are correct, it is not fair to "Wellington..." to put it up against the 7th and 8th, although hard to ignore that comparison too. As Joy says, it was a purpose written work, and it served that purpose well. It is outside of that context that it shows to be a more shallow work, but if one compared it to others of its genre, the martial battle recreation celebratory works (there were lots of them written then ands since) then it is demonstrably superior. I don't go anywhere near as far as those who call it "hack work" after all. Yes, I think anyone who is at all interested in Beethoven;s oeuvre owes it to him or herself to listen to it and judge for themselves. And why not?
I am fairly sure that the Concerto #9 was written for cembalo, possibly even for fortepiano since Mozart had access to one after 1775. One of those rare gems in a sea of galanterie, like the Haffner Serenade.

For me, it is the Concerto in A major for Basset Clarinet & Orchestra - K 622 - Amadé Mozart. The lovely deep, rich tones of the basset clarinet really take this to a new level.


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Regards,
Gurn
~~~~~~~~~~~~~~~~~~~~~~~~
That's my opinion, I may be wrong.
~~~~~~~~~~~~~~~~~~~~~~~~

[King Stephen]

This evening I am listening to two new recordings, both premiere recordings.
the first is Hummel's Violin Concerto, along with "Potpourri"(Fantasie)for Viola and Orchestra. The second is Johann Wilhelm Wilms (1772-1847) Symphonies Nos. 6 and 7. Very enjoyable music. Not Beethoven but who is?
KS

[Amalie]

RAMEAU:
Hippolyte et Aricie, Act 3, Dances,
La Petit Bande/Sigiswald Kuijken

HANDEL:
Sonata 0p.1 no.13, Larghetto.
Mstislav Rostropovich (cello)
Vladamir Yampolsky (piano)

VIVALDI:
Concerto A major.
Italian Concerto

ADAMS:
Wound-Dresser
Nathan Gunn/Baritone,
Bournemouth Symphony Orchestra

[Peter]

Originally posted by Gurn Blanston:
For me, it is the Concerto in A major for Basset Clarinet & Orchestra - K 622 - Amadé Mozart. The lovely deep, rich tones of the basset clarinet really take this to a new level.

I'm interested in this - the concerto was originally written in G major for basset horn in 1789 also for Stadler, but it was reworked through several stages. The final stage we have today (adapted to clarinet of normal range) is not Mozart's hand but that of an unknown arranger - several details in the soloist part have been corrupted. Do your cd notes shed any light on this and who are the performers (as I'd like to hear this version)?

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'Man know thyself'

[Gurn Blanston]

Amalie,
A varied lineup as usual. Especially if that last is John Adams! Yikes! Oh, I don't suppose ALL of Vivaldi's are "Italian Concertos", eh? So this one is particularly so? Hmmm... Adios,

Peter,
Yes, that is so. I have that sketch for basset horn also, it is 621b, and the theme is quite clearly what it is, although the basset horn has a different timbre which is quite interesting. My disk is by the Royal Liverpool PO / Roy Goodman. The player is Nocholas Cox, it is on Classico, CD 1502. The notes give several illustrations of how the score was changed to accomodate the "normal" clarinet in A, and they have changed it back because of the extended lower range. It is really quite fascinating, and a worthwhile acquisition for you.

For me, I will continue with the Goodman this morning, so it is the Symphony in d minor - #9 - Op 125 - Hanover Band. All that Rod said the other day is correct, but he left out that it is also the perfect precursor to a day on the links, as I shall prove shortly!


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Regards,
Gurn
~~~~~~~~~~~~~~~~~~~~~~~~
That's my opinion, I may be wrong.
~~~~~~~~~~~~~~~~~~~~~~~~

[Pastorali]

Johannes Brahms
String Sextet #2 - op.36
Kölner Streichsextett