What are you Lisztening to now?

[Megan]

Max Bruch's Violin Concerto No. 3 in D minor

[Roehre]

Today:

Granados:
Piano quintet (1894) (R3: CotW)

Verdi:
Otello: Ballet music Act 3 (1894; the very last music Verdi composed for the theatre)
Don Carlos : Ballo della Regina – ballet music Act 3 (1862)
I Vespri siciliani: Le Quattro Stagioni –ballet music Act 3 (1855)

McRae:
Gravity (2010) (R3: Po3)

[Peter]

Beethoven 4th symphony conducted by Zinman with the Tonhalle - a very exhilarating first movement - too fast in my view.

[Sorrano]

This morning, Schumann's "Noveletten" with a different pianist for each number.

[Chris]

Caught the Leonore No. 3 overture conducted by Leonard Bernstein on the radio this morning on the way to work.

[Preston]

Listening to Mozart's Symphony 40. I have heard the 1st mov. often, though have never listened to the entire symphony. When I was younger I thought the 1st mov. was fun to listen to. Now I see it that it has a darker and more serious side and sound to it. I guess I thought it was fun because it is catchier though it is really quite serious - right?

[Roehre]

Listening to Mozart's Symphony 40. I have heard the 1st mov. often, though have never listened to the entire symphony. When I was younger I thought the 1st mov. was fun to listen to. Now I see it that it has a darker and more serious side and sound to it. I guess I thought it was fun because it is catchier though it is really quite serious - right?

Symphony no.40 (KV550) is one of the darkest pieces composed by Mozart. It is only one of two symphonies in his output in a minor key: g-minor.
The other g-minor, Symphony no.25 KV183 is a brooding sturm-und-drang work as well.
The scherzo as well as the finale of KV550 were partly copied by Beethoven in his sketchbooks during the work on opus 67, compare e.g. the opening of Mozart's finale with that of Beethoven 5. Hum both themes at different tempi, and the relationship becomes clear.

[Roehre]

Today:

Pacius:
King Charles’ Hunt: overture (1854) (R3: TtN)

Hartmann:
String quartet no.1 “Carillon” (1933)

Linde:
Cello concerto opus 29 (1964)

Ohana:
Signes (1965)

[Sorrano]

Symphony no.40 (KV550) is one of the darkest pieces composed by Mozart. It is only one of two symphonies in his output in a minor key: g-minor.
The other g-minor, Symphony no.25 KV183 is a brooding sturm-und-drang work as well.
The scherzo as well as the finale of KV550 were partly copied by Beethoven in his sketchbooks during the work on opus 67, compare e.g. the opening of Mozart's finale with that of Beethoven 5. Hum both themes at different tempi, and the relationship becomes clear.

In listening to Mozart's complete symphonic output I've noticed the lack of minor keys. The piano concerti have a bit more of that and they are all wonderful works. Not too long ago I was listening to the 20th Piano Concerto and have to concede that it is my favorite of all of Mozart's output.

[Michael]

Symphony no.40 (KV550) is one of the darkest pieces composed by Mozart. It is only one of two symphonies in his output in a minor key: g-minor.
The other g-minor, Symphony no.25 KV183 is a brooding sturm-und-drang work as well.
.

I think the first movement of the little G minor (as it is known) was used to great dramatic effect in the opening of the film "Amadeus".

[Sorrano]

Josef Hofmann: "Kaleidoskop", Op. 40, No. 4

Leopold Hofman Hofmann: Mandolin and Guitar Sonata in G

[Roehre]

In listening to Mozart's complete symphonic output I've noticed the lack of minor keys. The piano concerti have a bit more of that and they are all wonderful works.

Not exactly Sorrano, there are only two minor-key piano concertos as well I'm afraid: no.20 d-minor KV466 and no.24 c-minor KV491, both favourites of Beethoven's btw.

For KV466 Beethoven composed cadenzas (WoO58), the only non-beethovenian concerto for which he did so.

A nice discussion can be held whether, and if so how much, KV491 influenced Beethoven's opus 37. The main theme of the 1st mvt strongly suggests so, but there is likewise strong evidence that Beethoven started sketching op.37 months if not longer before KV491 was for the first time played in Vienna after Mozart's death (and therefore after Beethoven's arrival in Vienna, 1792). Ries (IIRC) has told us that Beethoven did attend this concert, and made some glowing remarks about Mozart's work.

[Peter]

Symphony no.40 (KV550) is one of the darkest pieces composed by Mozart. It is only one of two symphonies in his output in a minor key: g-minor.
The other g-minor, Symphony no.25 KV183 is a brooding sturm-und-drang work as well.
The scherzo as well as the finale of KV550 were partly copied by Beethoven in his sketchbooks during the work on opus 67, compare e.g. the opening of Mozart's finale with that of Beethoven 5. Hum both themes at different tempi, and the relationship becomes clear.

It's also interesting to compare Mozart's early G minor with Haydn's G minor symphony no.39, a work I'm very fond of.

[Peter]

Not exactly Sorrano, there are only two minor-key piano concertos as well I'm afraid: no.20 d-minor KV466 and no.24 c-minor KV491, both favourites of Beethoven's btw.

For KV466 Beethoven composed cadenzas (WoO58), the only non-beethovenian concerto for which he did so.

A nice discussion can be held whether, and if so how much, KV491 influenced Beethoven's opus 37. The main theme of the 1st mvt strongly suggests so, but there is likewise strong evidence that Beethoven started sketching op.37 months if not longer before KV491 was for the first time played in Vienna after Mozart's death (and therefore after Beethoven's arrival in Vienna, 1792). Ries (IIRC) has told us that Beethoven did attend this concert, and made some glowing remarks about Mozart's work.

Yes, I think it was the variation finale that really impressed Beethoven, there is though no corresponding movement in his own C minor concerto.

[Peter]

I have been listening to some Lutoslawski, the first symphony and the Concerto for orchestra. I need to listen again because there were too many distractions today.