What are you listening to now?

[Enrique]

What do you think of Pulcinella, Roehre?

[Enrique]

Bach, Partita no.2 for solo violin
Beethoven, 5th symphony.
Bartok, string quartet no.2

[Quijote]

Beethoven Op 109 (Malcolm Bilson, on a period instrument). This is (whilst on holiday) my current earworm, so to speak. I find it (this time; my opinion can change) rather erotic. Sorry I can't give more specifics as I'm on holiday cut adrift from my sources.

[Sorrano]

This morning:

Schubert: The Wanderer Fantasy

The radio announcer introduced this piece as one that was so difficult that Schubert could not play it. That is the first time I've even thought much about Schubert as a pianist. How good was he, anyone know?

[Roehre]

This morning:

Schubert: The Wanderer Fantasy

The radio announcer introduced this piece as one that was so difficult that Schubert could not play it. That is the first time I've even thought much about Schubert as a pianist. How good was he, anyone know?

Schubert was a pianist capable of entertaining his friends by sheer endlessly playing the piano in seriously and less-seriously meant repertoire.
All the song accompaniments e.g. were within his professional range.
But he himself admitted that the Wanderer-phantasy and also the three last great piano sonatas were (literally) byond his grasp.

[Roehre]

What do you think of Pulcinella, Roehre?

Nice piece. Love it.
How well Stravinsky put some orchestral flesh onto the originals can only be appreciated as soon as you listen to the Suite italienne, which is a reduction of mvts from Pulcinella for violin and piano (an arrangement agreed by IS for cello and piano exists too). There the originals are much more shining through the stravinskyan music, and IMO are better than this score of Stravinsky's.
Pulcinella = pure Stravinsky based on other people's music
Suite italienne = other people's music not brilliantly (not to say: badly) arranged by Stravinsky

[Enrique]

I once borrowed the score from the Conservatory library, but there was maestro Jacobi, who had the counterpoint chair, and in a few moments we were both singing (= sing the music without the text) some fragments. He knew it by heart, from which I learned I was not the only one. I do not know what I like best: the instrumental sections or the vocal ones.

[Sorrano]

Schubert was a pianist capable of entertaining his friends by sheer endlessly playing the piano in seriously and less-seriously meant repertoire.
All the song accompaniments e.g. were within his professional range.
But he himself admitted that the Wanderer-phantasy and also the three last great piano sonatas were (literally) byond his grasp.

Thanks, Roehre! With the local classical radio station I hear very little Schubert, it seems, and it's a pity as there is so much of his music that is worth listening to.

[Roehre]

Today:

Bach, Johann Christoph Friedrich (1732-1795)
Ino - solo cantata for soprano and orchestra (R3:TtN)

Fruhling:
Trio for clarinet, cello and piano opus.40 (R3:TtN)

Holliger:
Induuchlen (2004)
Ma’mounia (2002)

Balakauskas:
Opera strumentale – 5 fragments for orchestra (1987)

Rihm:
Wölfl-Liederbuch (1981)

[Roehre]

Today:

Musgrave:
Loch Ness - a Postcard from Scotland (2012) (R3 Proms-iPlayer)

Dubugnon:
Battlefield Concerto op.54 (2010) (R3 Proms-iPlayer)

Karabits:
Concerto for orchestra no.2 (1986)

[Peter]

Listening/watching Bruckner's 6th symphony last night.

[Roehre]

Today:

Vaughan Williams:
Folk Songs of the four Seasons: suite (1949)
Serenade in a (1898)
Bucolic suite (1900)
Intermezzo (1901)

David Matthews:
Dark pastoral for cello and orchestra op.112 (after RVW’s sketches for a cello concerto, 1942) (2009)

[PDG]

Schubert was a pianist capable of entertaining his friends by sheer endlessly playing the piano in seriously and less-seriously meant repertoire.
All the song accompaniments e.g. were within his professional range.
But he himself admitted that the Wanderer-phantasy and also the three last great piano sonatas were (literally) byond his grasp.

Schubert gave the premiere performances of his last three sonatas at a one-off private gathering at the end of his life. His lack of virtuoso playing and failing health must surely mean that his undertaking was a truly great artistic endeavour/achievement, in anyone's book.

No contemporary account survives of these historic performances.

[Roehre]

Today:

Zemlinsky:
Yankee Doodle (movement for string quartet, 1927)

Wiggins:
Battle of Manassas (1861)

Berlioz
Irlande opus.2 (1832)
La Captive (Reverie) Opus12 (1848 orchestral version)
Le Jeune patre breton - romance Opus13/4 (p.1850)
Le Chasseur danois Opus19/6 (p.1850)
Zaide (Bolero) Opus19/1 (p.1850)

Kancheli:
Light mourning (1985)

Beethoven;
Symphony no.5 in c op.67

[Sorrano]

This morning:

Saint-Saens: La Muse et lePoŠte

Roehre, your Berlioz choices intrigue me. Unfortunately, I hear so little of his music, particularly on the radio.