What are you listening to and WHY might anyone be interested? (Vol. X)

Posted by: Richard Dane on 31 December 2013

Posted on: 13 July 2014 by Jeff Anderson

Kate Walsh "Peppermint Radio"

wonderful album of covers

Posted on: 13 July 2014 by Kevin-W

As the WC Final nears, I am working my way through this collection of Elvis' 70s music. Plenty of gems among the schlock and dross:

Posted on: 13 July 2014 by Florestan

Live in Warsaw: Evgeni Bozhanov (Piano)

Barcarolle in F sharp major, B 158/Op. 60 by Frédéric Chopin

Mazurka, Op. 41: no 1 in C sharp minor by Frédéric Chopin

Mazurka, B 145/Op. 50: no 3 in C sharp minor by Frédéric Chopin

Waltz Op. 64: no 3 in A flat major by Frédéric Chopin

Waltz in E flat major, Op. 18 "Grande valse brillante" by Frédéric Chopin

Waltz in A flat major, Op. 42 "Grande Valse" by Frédéric Chopin

German Dances , D 790/Op. 171 by Franz Schubert

La plus que lente by Claude Debussy

L'isle joyeuse by Claude Debussy

Waltz in A flat major, Op. 38 by Alexander Scriabin

Années de pèlerinage, deuxième année, S 161 "Italie": no 5, Sonetto 104 del Petrarca by Franz Liszt

Der Tanz in der Dorfschenke, S 514 "Mephisto Waltz no 1" by Franz Liszt

An absolutely brilliant pianist in my books. Here is a pianist who thinks for himself and the musical message is clear (whether you agree with it or not). The point is he follows no one but his own intuition and that is what sets him apart from many and I have great respect for this; individualism in the service of great music making.

Technique is there in spades yet he doesn't use it to pile drive the point home. Mephisto waltz is a good example. Most pianist, who even dare play this, tend to think speed and a limitless tecqnique trumps musical value. Well, it is a different view and valid in that right but what I hear in Bozhanov is a story. A musical adventure. There are questions posed and answers given. There is stark contrasts in tempo and in dynamics. Clarity that brings a listener in to understanding.

For contrast, you can hear a typical, wild rendition by someone like Khatia Buniatishvili (around 11 min.) or this more intellectual but musical rendition of Bozhanov at almost 16min. The highlights of the disc is probably his Chopin (Mazurkas esp) but I find it strong across the board.

All in all, I think this is a great recital from an artist I have previously raved about in his Chopin release. I hope for many more in the future as this is the type of artist I appreciate the most. I really like these two discs I have of this pianist a lot!

Posted on: 13 July 2014 by Jeff Anderson

Evanescence "Fallen"

as recommended on this thread, not my normal fare,

but well-done and interesting and enjoyable.

Posted on: 13 July 2014 by Florestan

Originally Posted by Florestan:

Sergei Rachmaninov: Works for Two Pianos

Alexander Kobrin / Frédéric d'Oria-Nicolas

Suite for 2 Pianos no 1, Op. 5 "Fantaisie-tableaux" by Sergei Rachmaninov

Suite for 2 Pianos no 2, Op. 17

Symphonic Dances Op. 45

Over the years I have come to the personal realization that while music is my number one hobby the playing aspect trumps the listening aspect by a fair margin. A corollary to this is that I find this is only slightly less true for me if one makes the comparison between baroque music, say, and romantic period music. Not to be misinterpreted, no the original condition still applies but it might be splitting hairs but when I sit down and in the right conditions play my favourite Rachmaninov, Chopin, Liszt etc. the hairs on the back of my neck can stand on end. It is the way they use the keyboard maybe? Bach on the other hand stimulates me firstly in an intellectual way rather than a emotional way.

For Rachmaninov, case in point might be the low d octaves at the start of the d-minor trio or the many parts throughout the first Suite for two piano:

The four movements are:

I. Barcarolle. Allegretto, in G minor.
II. La nuit... L'amour... Adagio sostenuto, in D major. (The night...the love...)
III. Les Larmes. Largo di molto, in G minor. (The Tears)
IV. Pâques. Allegro maestoso, in G minor. (Easter)

That a twenty year old could write some as profound and beautiful as this astounds me. Rather than say more I will sum up with a wonderful quote:

“Rachmaninov was made of steel and gold: the hard alloy was in his hands; the precious one, in the heart.” (Józef Hofmann (1876-1957), Los Angeles, 1945)

Posted on: 13 July 2014 by Jeff Anderson

Fruit Bats "Tripper"

Posted on: 13 July 2014 by Kevin-W

Hilarious - "John Shuttleworth's Lounge Music", live on BBC Radio 4 FM:

Posted on: 13 July 2014 by Tony2011

Streaming...

Posted on: 13 July 2014 by kuma

Originally Posted by George J:

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.

George,

I'd rather listen to a good performance/ bad sound combo than the other way around.

I've many audiophile recordings and now know why I stopped listening to them. ( they sound great but they are boring or cheesy or both!)

I know some folks can get the gist of the music fine no matter who's performing but I am not one of those folks.

It turned out that the right musicians/conductor can penetrate my thick skull and communicate the intention to me.

Posted on: 13 July 2014 by Bert Schurink

Posted on: 13 July 2014 by George J

Dear Kuma,

Never underestimate the ability of famous musicians to remove the heart from music, and render the greatest music incomprehensible to even the most died in the wool music lover.

Often there seems to be an inverse proportionality between the technical accomplishment of the performers and the heart and swing they bring out in the music. If I were to choose between the technically brilliant Glenn Gould and the fallible Edwin Fischer, musically speaking Fischer walks it every time ... for me!

But some people approach what Gould played and love it, and the older I get the more I realise that there is no single correct path. The love of the music must dictate who our favourite performers are in our favourite music. For me in the Elgar Violin Concerto, Albert Sammons stands as a Titan compared to all but Tasmin Little!

Of course others will prefer the estimable Nigel Kennedy [in the earlier recording for EMI with Vernon Handley and the LPO] which I once had, but Handley is in the Boult mode of Elgarian performance, and perhaps just a bit stuffy! They were after all in the Pupil-Master relationship concerning conducting!

The young Kennedy had a great deal going for him, but I find a kind of perfection over drive in that recording. Sammons is a long way from perfection, but still superbly played if one considers that there was no editing to improve this or that individual note. I'd prefer earthy drive to edited perfection!

ATB from George

Posted on: 13 July 2014 by Bert Schurink

Posted on: 13 July 2014 by kuma

Originally Posted by George J:

It seems that younger generation of musicians expect numerous takes as they are taught a technical perfection at school these days.

A friend of mine told me about the story of Fischer: when asked for another take to fix the misplaying, he quipped to the engineer that the next take would be perfect but not as good as the last one.

Many of Kempff's recording contains misplaying particularly when he was up in age, but noone has his spontaneous style which is hard to explain. ( I am not sure if this can be taught. I haven't heard anyone play like that today )

I find it's impossible to single out *the* soloist for all programs, tho.

Plus I am still exploring.

Posted on: 13 July 2014 by George J

Schubert's Wanderer Fantasy for Piano. Edwin Fisher ...

https://www.youtube.com/watch?v=YXAphpvv4rs

https://www.youtube.com/watch?v=Zlu3CYZ66VM

https://www.youtube.com/watch?v=nNOdDSKwNtM

The first movement on the first clip, the second on the second, and the third and fourth on the third ...

A triumph of musical communication over nerves! Fischer called the Abbey Road Studio the "torture chamber!" The recording is respectable for its period!

Enjoy this one!

ATB from George

Posted on: 13 July 2014 by kuma

Originally Posted by Bert Schurink:

+1.

His Berceuse and Barcarolle are my faves.

Posted on: 13 July 2014 by Sorren

Earlier ...

Elbow - The Take Off And Landing Of Everything

Elbow - The Take Off And Landing Of Everything. Ripped to FLAC. A superb album, well worth a listen, which gets better each time.

And now...

London Grammar - If You Wait

London Grammar - If You Wait. Ripped to FLAC. I've had this album for a while and despite seeing it on this forum a few times never really got around to listening to it much until today. It is a great album though. Very atmospheric and her voice is amazing.

Posted on: 13 July 2014 by matt podniesinski