What are you listening to now?

[Quijote]

Listening to Richter play Schubert's Piano Sonata in A, D664, from a live recording of 1979. Wonderful work - but I could do without the coughing!!

I've just bought the double CD of Brendel's farewell concerts. Only marred by his "vocalizations" during the Bach/arr.Busoni Chorale Prelude, "Nun komm de Heiden Heiland" BWV659. I can't listen to it, which is a real shame - but the rest is superb.

Coughing I can also do without. The "vocalizations" I have no objection to whatsoever. Based on no evidence whatsoever, I feel sure that Beethoven often vocalized when playing the piano.

[Sorrano]

I've been listening to Beethoven's 5th Piano Concerto with Ashkenazy (sorry if that is misspelled) and Solti, a very dynamic recording. Also, I caught Bartok's Concerto for Orchestra on the radio, a very good listen. I'd forgotten how much I like that.

[Michael]

I've been listening to Beethoven's 5th Piano Concerto with Ashkenazy (sorry if that is misspelled) and Solti, a very dynamic recording. .

The first classical CD I bought and still one of my favourites. (And still playing perfectly after 23 years.)
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).

[Bonn1827]

What 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.

[Roehre]

Today:

Ibert:
6 Pièces pour harpe-seule (1916/’17)


Huygens:
Pathodia sacra e profana (p.1647)

[Michael]

What 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 must have some great equipment (or ears). Then again, my Brendel set is his analogue Philips one so maybe it isn't as clear as his last, which was completely digital. Extraneous noise can be very annoying. When I bought the Italiano set of the Beethoven quartets back in 1990, I couldn't enjoy them for a long time because I was distracted by breath intakes and background traffic noises - but I have tuned them out now.
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.

[Bonn1827]

Tonight, and it's nearly 11pm, it's LvB's "Missa Solemnis" with Solti/Chicago Symphony Orchestra. OH MY GOD!!!!!!!!!!!

[Michael]

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).

[Roehre]

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).

Yes, it is only since the last couple of years that more recordings of it have become available (just as with the quintet opus 104 after opus 1/3).
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.

===============

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)

[Chris]

Today I am listening to the complete overtures of Haydn.

[Roehre]

Today I am listening to the complete overtures of Haydn.

Which recording(s) Chris, as there aren't that many made of Haydn's overtures?

[Roehre]

Today:

Alan Bush:
Variations, Nocturn and Finale on an old English Sea-Song (1962)

Rihm:
Symphony no.2 (1975)

Berio:
Ekphrasis (1986)

Cerha:
Like a Tragicomedy (2009)

Boulez:
Anthèmes 2 (1997)

[Bonn1827]

Right now:

BBC Radio 3 - Mendelssohn Piano Sonata E Major (op.6) - a lovely early work.

(The neighbours have infernal leaf blowers and garden equipment going, AS USUAL. Where can one find peace if not behind headphones, apart from the obvious pine overcoat!)

[Chris]

Which recording(s) Chris, as there aren't that many made of Haydn's overtures?

The 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.

[Roehre]

The 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.

thanks Chris