Originally posted by Bonn1827
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Originally posted by Sorrano View PostI've been listening to Beethoven's 5th Piano Concerto with Ashkenazy (sorry if that is misspelled) and Solti, a very dynamic recording. .
Today, I continued my tour of the Brendel set of Beethoven sonatas with Opus 10 No. 3. The slow movement always gives me the collywobbles (if that's a valid musical term).
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Originally posted by Bonn1827 View PostWhat do others think of the extraneous, non-musical noises performers make - particularly when playing piano? A lot make these noises, but non as bad as Brendel's last (in my collection). With sophisticated hi-fi equipment this problem is heightened significantly and impairs listening.
You won't believe this, but I read an article many years ago about a string quartet (I think it was the Lindsays) wearing masks as they recorded in order to eliminate breath sounds. I even saw a picture of them wearing the damn things.
Also, around the same time, I came across a letter from a purchaser of the same Beethoven works recorded by the Vegh quartet and he complained that he couldn't enjoy them because of the breathing sounds. I think all those things were masked by the surface noise of vinyl and it took us a while to get used to all the ambient sounds in older recordings.
When it comes to vocalising, I believe Glenn Gould had a great set of tonsils, but I would give top prize to Jeno Jando (on Naxos). On some of his recordings, I don't know if I'm listening to piano sonatas or lieder.
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Listening to Beethoven's Opus 4 String Quintet. It is usually described as an arrangement of his Octet, but recomposition would be a better word. It is substantially longer and more developed than the wind version. A fine early work, strangely neglected (maybe because of its hybrid origins).
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Originally posted by Michael View PostListening to Beethoven's Opus 4 String Quintet. It is usually described as an arrangement of his Octet, but recomposition would be a better word. It is substantially longer and more developed than the wind version. A fine early work, strangely neglected (maybe because of its hybrid origins).
Essentially IMO as well it indeed is a new composition based on the same themes as the opus 103 octet (which itself btw is likely to be a reworking of a partita still written in Bonn), not a mere transcription.
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Today's listening:
Enescu:
Isis (1923, orchestrated by Bentoiu in 1999)
JSBach:
Cantates BWV 85, 104 and 112 (all meant for today, Misericordias Domini)
Mozart:
Misericordias Domini KV222
Ptaszynska:
Concerto for marimba and orchestra (1985)
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Originally posted by Roehre View PostWhich recording(s) Chris, as there aren't that many made of Haydn's overtures?
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Originally posted by Chris View PostThe set by Manfred Huss and the Haydn Sinfonietta Wien - the rerelease on BIS. I have all of Haydn's surviving stage works, so I have all of these overtures elsewhere, except for one or two that are not known to belong to any larger work (Hob. Ia:4, and Hob. Ia:7, though the latter is an alternate finale to Symphony No. 53 as well). Also of note, though, is that these recordings feature the original versions of the Creation and Seasons orchestral sections, which differ, sometimes significantly, from the original published versions. The liner notes (2008) claim this is the first recording to do so. They are also on period instruments.
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