I’ve been listening to the Mozart String Quintets as played by Arthur Grumiaux and colleagues from his ‘big box’ set. Absolutely beautiful playing only fractionally marred by a rather ‘boxy’ sounding viola. What I’m particularly impressed by is the fantastic recording - it really sounds as if the musicians are in the room with me.
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Yes, those recordings were always highly praised and have stood the test of time.
I've just been listening to Karl Bohm conduct the 'Posthorn' serenade and the familar 'Rosamunde' pieces , from around 1970.Comment
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Yesterday: various recordings of Janáček string quartets (qv) and also Mikhail Rudy's fantastic 1991 recording of his solo piano music (+ Concertino), originally on EMI and reissued on Erato.
Now (having found it accidentally using Qobuz's search engine): three orchestral works by Alvin Lucier, performed by the Janáček Philharmonic Orchestra (see what I mean?) conducted by Petr Kotik. The first, Diamonds for 1, 2 or 3 Orchestras, sounds pretty much like some moments in Ligeti's Lontano.Comment
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The second piece Slices is a sort of cello concerto, where the solo cello plays all the (chromatic) pitches available to it while the accompanying orchestra begins by playing all of these pitches simultaneously, and leaves them out as they sound in the solo part. The third piece, Exploration of the House, subjects Beethoven's Consecration of the House overture to the I Am Sitting In A Room treatment, a few bars at a time. As usual with Alvin's pieces, I imagine that their recorded form falls even further short of reproducing the multidimensionality of a live performance than is the case with other musics, given that the space in which the music takes place is such an integral feature of their concept and sound. Worth a listen though.Originally posted by Bryn View PostComment
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Édouard Lalo
Cello Concerto in D minor (1876)
Enrique Casals
Cello Concerto in F major (1946)
Jan Vogler (cello)
Moritzburg Festival Orchester / Josep Caballé-Domenech
Recorded 2022, Lukaskirche, Dresden
Sony Classical CD, recent release
Francois Couperin
Exultent superi - Motets Choisis
Collegium Novum; Jonty Ward (dessus); Inigo Jones (dessus); Guy Cutting (haute-contre);
Nick Pritchard (basse-taille); George Coltart (basse); Tom Edwards (basse);
Duncan Saunderson (basse);
Choir of New College Oxford / Edward Higginbottom
Novum, CD. A favourite CD of mine!Comment
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Going through my old HMV LP's:
Prokofiev Piano Concerto no.3
Moura Lympany, Philharmonia/ Susskind
CLP 1126
Chopin (orch. Douglas) Les Sylphides
Philharmonia/ Robert Irving
CSD 1271
This one has the curious green and gold 'early stereophonic' label.
Both sound very well after a clean.Comment
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... well, with that acclamation... I see there is a copy going for £3-16 incl p&p, so I'm snapping it up!Originally posted by Stanfordian View Post
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Schumann
Kreisleriana Op.16; Carnaval Op.9; Symphonic Studies Op.13.
Mendelssohn
Variations Sérieuses Op.54.
Schubert
Moments Musicaux D780.
Sonata in a minor D784.
Vladimir Sofronitsky (piano). Denon Japan CDs rec. 1950s.
Schumann Kreisleriana Op.16.
Benjamin Grosvenor (piano). Decca/Qobuz 24/192. 2023.Last edited by jayne lee wilson; 04-04-23, 20:29.Comment
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If I can get away with a quick off-tread, how do you clean?Originally posted by smittims View PostComment
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...with a 1:5 solution of surgical spirit and tap water sprayed on gently with an atomiser, the wiped wet and agian dry with a cotton pad, finally a sweep with an old 1970s Bib velvet block. And don't forget to keep your stylus clean.
I'm told this is all wrong but it's worked for me for many years. I have had some very dirty discs bought in charity shops where I've reverted in desperation to a 'wet-wipe' first with surprisingly good results.
Back on topic I'm listening to Florence Price's third symphony.
Oh dear. Is there, I wonder a category of 'music you wouldn't want to be found listening to?' I used to be keen to give anything a fair hearing, but I think life is too short for Florence Price's music.Last edited by smittims; 05-04-23, 11:28.Comment
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Couldn't agree more - all the fuss surrounding some of these releases of her music which, let's be honest, is third-rate. Everyone should be given a chance to be heard, but 'undiscovered gems' etc ? I don't think so...Originally posted by smittims View PostComment
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Of course there is more at play than this. As an African-American woman composer, Price stands for much more than could possibly be contained in the notes of her music. It's important that there should be recognition of her work as an encouragement for composers of related backgrounds to feel empowered to put themselves and their work forward, which has so rarely been the case until now. As someone involved in teaching composers, I have to say it's been essential to be able to point at such examples. Even if music by people other than white men has been marginal in history, it's essential to create the opportunities that will change this, otherwise the tradition we think is so important will be seen as even less relevant than is already the case. Hence the "fuss", which is surely entirely justified, whether you or I choose to listen to this music or not.Originally posted by Pianoman View PostComment
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Hmmm, well, I've no wish to start an argument, least of all on this topic, but I feel I should state my belief (despite the withering counterblast I expect it will provoke!) that the intrinsic quality of a piece of music should be the only criterion for performing or broadcasting it. Otherwise we are 'using ' the music to make a point about something else; once we start doing that there's no telling where it will end: people getting performed purely because they are friends of the regime, etc.Comment
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