What are you listening to and WHY might anyone be interested? (Vol. X)
Posted by: Richard Dane on 31 December 2013
On the cusp of 2014, we start a new thread...
Anyway, links:
Volume IX: https://forums.naimaudio.com/to...16#22826037054683416
Volume VIII: https://forums.naimaudio.com/di...nt/12970396056050819
Volume VII: https://forums.naimaudio.com/di...6878604287751/page/1
Volume VI: https://forums.naimaudio.com/di...ent/1566878604097229
Volume V: https://forums.naimaudio.com/di...ent/1566878605140495
Volume IV: https://forums.naimaudio.com/di...ent/1566878605795042
Volume III: https://forums.naimaudio.com/di...ent/1566878607309474
Volume II: https://forums.naimaudio.com/di...ent/1566878606245043
Volume I: https://forums.naimaudio.com/di...ent/1566878607464290
Kate York "Sadlylove"
Rush. The Spirit of Radio. Greatest Hits 1974-1987. On CD from 2003. I much prefer to listen to Rush on vinyl, but for now, this hits the spot nicely.
top of the pile:
Belle and Sebastian "Tigermilk"
Great choice Jeff!
Don't know much about their music, but see it on here from time to time. Will be doing some exploring.
regards
Jeff A
Giving Elgar's Violin Concerto a try.
Dear Kuma,
Did you enjoy it?
I remember listening to the composer's recording on Red Label HMV 78s with the young Menuhin, the LSO, with the attentive conducting of the aged composer on the podium - as a youngster forty years ago! [I was eventually given this 78 album consisting of twelve sides, very nicely sleeved in a hard-back brown HMV album. I gave it to Oxfam only a few years ago!].
Since then I got the later recording with Boult and Menuhin and another favourite even older than either!
Albert Sammons with the Queen's Hall Orchestra and Sir Henry Wood on English Columbia. This was actually the 1929 premiere complete recording and it is not so well recorded as the composer's own recording from 1932.
Sammons brings a real authority to the solo part, and was Elgar's favourite soloist in the music. They had performed it together many many times!
What is fascinating is that very few people have heard of Albert Sammons nowadays. He was the English Heifetz, but a much warmer musician in performance, but I think he sometimes is even more proficient than his more famous colleague in the technical sense! There is a lovely story about Sammons and his great friend Solomon [Cutner, the great English pianist] attending a Queen's Hall Concert where Heifetz was soloist, right in the middle of a hot summer. The Queen's Hall could get very warm inside in the summer, and Sammons said to Solomon,
"My goodness it is hot in here today!"
Solomon instantly quipped,
"It's certainly hot in here for violinists!"
ATB from George
George,
I sort of gave up on this set for now. I need to listen to others.
I am having difficult time enjoying this piece. Perhaps its length or maybe the performers. ( Neither Menuhin or Boult are not my fave )
It would be interesting to listen to the '32 recording with the Sir Elgar you mentioned. It is said to be even slower than this '66 Boult recording. I think neither Sammons or Henry Wood are well known in the US but their Op.61 sounds better than this '66 Menuhin/Boult?
At any rate, I was expecting something more along the line of Elgar's Cello Concerto, but this one is different. It wants to be romantic and organised like such yet this particular set is not doing much for me.
Now interesting that Heifetz is known for his technical ability but thought as *cold*. I don't hear that at all in his playing. To my ears, he's more of a hot blooded fiddle player than many love his direct way of communicating.
p.S. This IS WAY better! I can't even get through Menuhin/Boult's 3rd movement. Here there is more urgency and drama albeit the styling is a bit old fashioned. It's all right. It's got more power.
Dear Kuma,
I did not say so to avoid prejudicing you against the late Menuhin recording, but I never found it compelling, and I love this concerto.
Sammons is quick-silver and sweet by turns as the music requires. It is not the most technically splendid recording even by the standards of 1929, but it is good enough for the orchestra to be heard clearly at least, and Sammons comes through beautifully. It is rather a quick performance if you look at the timings. Much shorter in time duration than either of Menuhin's recordings, though it never once feels driven.
Elgar himself was not fond of Heifetz performance of the music, but that is for another day perhaps.
I have twice heard Tasmin Little play it at concerts, and she is fantastic. I don't know if she has recorded it though.
The Sammons recording is a strange case for me. In reality the performance is so fine that even the recording is no obstacle for me. And with such a commanding reading, I have not ever thought of getting another recording, though I would never part with Menuhin's 1932 recording with Elgar.
I do have the later Menuhin recording in the box set dedicated to Boult's EMI recordings. It is not uploaded to m y iTunes though. That probably tells you what I think about it!
Naxos has the Sammons recording on CD, and it is a sympathetic transfer.
ATB from George
PS: It is funny but what seems old fashioned in style in Sammons playing is in fact completely stylish playing of the period and how the work is ideally played! It is historically informed performance [HIP] practice of the most secure kind and without any guess-work! I am glad you found this as I think it may bring you to love the Concerto, which is the best any recording of great music can hope to do!
ewemon,
Glad to see you got the new Mellencamp. On vinyl? I'd be interested to hear what you think of it
Amos Lee "Mission Bell"
Bell X1 "Bloodless Coup"
Basically Bull: Keyboard Works of John Bull & Others Alan Feinberg performs some of the most avant-garde works for the “virginal” – a prototype of sorts of the piano—from John Bull, William Byrd, and Orlando Gibbons, among others. These works are recorded for the first time on a modern piano.

About Mick
"He was a warehouseman, car mechanic and municipal gardener – but boy could he play guitar (and piano, recorder, violin, bass and drums). Mick Ronson became the undisputed king of glam rock guitarists, ace arranger and prolific producer on countless sessions from David Bowie and Lou Reed to John Mellencamp and Morrissey. He toured with Bob Dylan and was lifelong sideman to Mott The Hoople legend Ian Hunter. He was band leader of the Bowie’s Spiders From Mars, and produced and played with dozens of other artists often more for pleasure than for self-acclaim or financial reward."
Double vinyl
First side of the vinyl LP from this mgea-box. Sounds amazing.
Had a new Dynavector 'XX2 II' cartridge fitted to my LP12 this week here is just a small selection of records played between watching le tour de france, test cricket & world cup football.
Graham
The "Ultra LP" of Jack White's Lazaretto - I just love watching my Ittok go backwards on Side One!
Quad33 wrote:
"Had a new Dynavector 'XX2 II' cartridge fitted to my LP12 this week"
I'm a big fan of Dynavector cartridges & that's a great selection of albums.
This one brings up hazy memories (and not just because it was such a long time ago) of my long lost student years.
OOps - missed the album insert. Here it is:
Of its time, but a great album nonetheless.
John Vanderslice "Romanian Names"
And after a memory jog from another thread, another album from the 70s:
and a hi-res download from Linn (before they decided to narrow their range):
Much better than the standard CD rip!
Went out for a blast on my motorbike today - that was really great, but to waken me up properly:
ripped to FLAC from CD. Can't believe there is anyone who doesn't like a bit of Dr Feelgood.
Quad33 wrote:
"Had a new Dynavector 'XX2 II' cartridge fitted to my LP12 this week"
I'm a big fan of Dynavector cartridges & that's a great selection of albums.
This one brings up hazy memories (and not just because it was such a long time ago) of my long lost student years.
Thanks Hmack, the new cart sounds great
Sunday morning music.