What are you listening to now?

[Megan]

This evening's Proms,

Dmitri Shostakovich — The Age of gold - suite from the ballet Op.22a
Conductor: Esa-Pekka Salonen Performer: Philharmonia Orchestra


Dmitri Shostakovich — Concerto no. 1 in A minor Op.77 for violin and orchestra
Conductor: Esa-Pekka Salonen Performer: Lisa Batiashvili - Violin Performer: Philharmonia Orchestra
.

[Quijote]

Hopefully 4'33!

You wish! One would think that the only work of Cage known to the general public was the 4'33". At least the video installation didn't make use of the "Triple Concerto", for then I would have truly screamed my head off ...

[Roehre]

Today:

Debussy (arr. Kocsis):
2 Arabesques (1888/’91) (R3: TtN)

Barber:
Knoxville – Summer of 1915 op.24 (1947)

Berg:
Violin concerto (1935)

Sutermeister:
Cello concerto no.2 (1970/’71)

[Quijote]

Roehre : would you say there has been any significant "development" between Sutermeister's 'cello concertos no.s 1 and 2? Has the writing for the 'cello changed in any meaningful way? Indeed, does he write well ("idiomatically") for it?

[Quijote]

[...] A few years back a friend of mine would go on how she loves Swan Lake, I'm kind of relieved that I didn't have to attend a perfomance with her and have to pretend that I liked it.

Why on earth would you have to pretend? I'm sorry, but I have never felt this (once I reached puberty). Maybe some on this forum are abhorred (check spelling, please) by my frank disrespect of key canonical works (the damned "Triple", for example), but that is their problem. You don't share my view? Go eat grass, I say.

[Megan]

The Scherzo from Bruckner's 5th symphony.

Later this evening from the Proms, you can listen to the whole of Bruckner's 5th

[Chris]

Some organ free preludes and chorale preludes by Buxtehude. It is easy to see the influence of his music on Bach's.

[Roehre]

Today

A concert by Qvinta essencia (R3: TtN)
Guerrero, Pedro [c.1520-?]; O, mas dura que marmol a mis quejas
Diaz; Quien me dijera,
Friar Juan; Elisa, vida mia!;
Morales, Cristobel de [1500-1553]; Si no os hubiera mirado
Vasquez, Juan [c.1510-c.1560] Si no os hubiera mirado;
Narvaez, Luys de [1530 - 1550]; Pavana and Romanesca;
Anonymous [16th century]; Claros y frescos rios - 16th century madrigal;
Mudarra, Alonso [1510-1580]; Recuerde el alma dormida
Vasquez, Juan [c.1510-c.1560]: Oh dulce contemplacion
Kapsberger, Giovanni Girolamo [c.1580-1651]; Toccata no.6 (Libro primo d'intavolatura) for lute;
Guerrero, Francisco [1528-1599]; Barbara, yo soy tuyo
Ceballos, Rodrigo de [c.1530-1581]; Quan bienaventurado!
Anonymous (16th century); Oh dulce suspiro mio! - 16th century madrigal;
Vasquez, Juan : Soledad tengo de ti
Vasquez, Juan : No me firais, madre

Birtwistle:
Night’s black Bird (2004)
The Shadow of Night (2001)

Sibelius:
Humoresques for violin and orchestra opp.87 and 89

Larcher:
Concerto for Violin, Cello and Orchestra (2008/10) (R3:Proms)

[Roehre]

Roehre : would you say there has been any significant "development" between Sutermeister's 'cello concertos no.s 1 and 2? Has the writing for the 'cello changed in any meaningful way? Indeed, does he write well ("idiomatically") for it?

The works are approximately the same length (28 mins), and definitely in Sutermeister's own recognisable idiom, i.e. Martin/Hindemith-ish harmonic thinking and melodic development, and idiomatically written for the 'cello - for both concertos he was collaborating with the concerto's respective dedicatee.

The two concertos could hardly more different:
I: one mvt arch structure, with the 3 mvts developing into each other the way Sibelius' 7th does, more harmonically led than by its symphonic/thematic argument, dark, quite brooding.

II: in the "standard" 3 mvts, 1 a "proper" concerto-sonata-form, 2 a-b-a', 3 a rondo-sonata similar to Mahler 5v; strong rhytmic themes, especially the opening of 1, reminiscent of Shostakovich's 2nd concerto op.129 finale (which was premiered approximately the same time as Sutermeister started composing his 2nd concerto, but whether he knew this piece? Quite unlikely but of course not impossible). Lighter orchestration (2.2.2.2 2.2.2.0 perc str ?), similar to Martin's Ballade for cello and orchestra (1949).

[Quijote]

[...] Later this evening from the Proms, you can listen to the whole of Bruckner's 5th

I hope you did. Love this work, but so dependent on the right tempo inflections (as for any composer, of course). I am still "in the midst" of my Bruckner research, but I'm beginning to look outwards to the HIP versions that exist on CD (e.g. the flutes in Bruckner's day would have sounded a lot less strident than today, and would have had a significant impact on the colour ...).
Roehre and Sorrano, could you give me any pointers about that? (The HIP CDs available).

[Roehre]

... I'm beginning to look outwards to the HIP versions that exist on CD (e.g. the flutes in Bruckner's day would have sounded a lot less strident than today, and would have had a significant impact on the colour ...).
Roehre and Sorrano, could you give me any pointers about that? (The HIP CDs available).

I am afraid I haven't a clue, Philip.
AFAIK there exists a HIP-recording of 3 with Herreweghe, Harnoncourt did something with the Concertgebouw, and did Norrinton a 4 with Stuttgart recently? That's all I can recall.

[Sorrano]

I wasn't aware of HIP recordings of the Bruckner symphonies, but that would be interesting to hear them.

[Roehre]

Today

Langgaard:
Symphony no.6 “Det Himmelrivende” (1919)

Myaskovsky:
Symphony no.21 in f-sharp-minor op.50 (1940)

Wengler:
Symphony no.2 (1982)

[Quijote]

Thank you Roehre and Sorrano for your respective replies concerning HIP Bruckner (which also ties in nicely with Peter's comments previously about Mahler, Norrington and [mis]use of vibrato).

[Quijote]

Tonight then, being deprived of readily available CDs, I attended earlier this evening a beach party at the Lago di Garda (Gardone Riviera). Yes, there is indeed a "beach" at the lake front (pebbles), and with wonderful clear water.
Anyway, this party : loud music for the locals (and tourists) that featured medlies of amplified pulsating popular music with a wanton disregard for key relationships, which I found curiously refreshing. The Pirlone (a mix of Prosecco and Campari) no doubt contributed to my open-mindedness.