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

Posted by: Richard Dane on 31 December 2014

On the cusp of 2015, we start a new thread...

Anyway, links:

Volume X: https://forums.naimaudio.com/to...-be-interested-vol-x

Volume IX: https://forums.naimaudio.com/to...16#22826037054683416

Posted on: 28 November 2015 by Plinko

Posted on: 28 November 2015 by kuma

Salonen/Los Angeles Philharmonic: Lutoslawski Symphony No.3 & Les Espaces Du Sommeil 1983 World Premier Recording

Young Salonen records Lutoslawski's Tone poem and Symphony No.3 which was commissionied by the CSO and Solti/CSO premiered back in 1983 at the Orchestra Hall. Amasing I spot the same violin player in the photo still in the orchestra playing today. The composer was present for this premier.

Salonen will be back next year conducting the 3rd for CSO's 125th Anniversary season.

These pieces are still pretty dark but much more accessible than the composer's earlier work. Some of those make Messiaen and Ligeti tunes a walk in a park comparatively.

Posted on: 28 November 2015 by winkyincanada

Posted on: 28 November 2015 by Plinko

Nice, soft pyschedelia from Philly in 1968.

Posted on: 28 November 2015 by kuma

Bernstein/NYP: Bruckner Symphony 9 1969 Recording

This is hardly a definitive version as Lenny treats it like Tchaikovsky!

Tension management is a bit loose in the first half quickly losing interest. Rhythmically awkward he's muddling through an open ended finale.

I think he's more together with Mahler symphonies.

Posted on: 28 November 2015 by kuma

Giulini/CSO: Bruckner Symphony 9 1979 Recording

Adolph Herseth’s warm and earth coloured trumpet leads a Beautiful sunrise like opening. CSO's brass section is prominently featured throughout especially in Scherzo over his later recording with Vienna Phil. ( plus this is better engineered/recorded )

His orchestra handling here is much more mature and developed than Lenny/NYO in that Giulini digs out the beauty out of the score.

Posted on: 28 November 2015 by joerand

Originally Posted by MDS:

This feels a much more coherent album than Endless River, the latter seemingly made up of some the material that wasn't thought good enough for Division Bell, or am I being too harsh?

Maybe not so much that the material wasn't good enough. Bands often shelf material for later development. Wright's contributions to Endless River were 20 years old, could not be further developed, and the final product had to be tailored around them.

Posted on: 28 November 2015 by Gianluigi Mazzorana

Originally Posted by TOBYJUG:

Another great one!

Posted on: 28 November 2015 by joerand

Tom Petty & The Heartbreakers. Hard Promises. On original vinyl from 1981. Thanksgiving night in the US the Palladia channel aired several TP concerts. I caught parts of the Fenway Park and Gainesville shows. My inspiration for playing this wonderful album.

Posted on: 28 November 2015 by kuma

Bruno Walter/Columbia Symphony: Mahler Symphony 1 1961 recording

There are at least 8 recordings of Walter's 'Titan' but this last recording at American Region Hall in NY was the only studio recording of this score. According to interview by Zubin Mehta who attended all Walter's recording sessions, Columbia was not generous in terms of studio time and the number of musicians because in the early 60s no one would buy Mahler's music. ( Mehta talks about all the conditions Columbia imposed on Walter for recording Mahler 9th: starts around 3:40 min. in) Perhaps this explains why the rest of Walter's Mahler recordings are all live recordings. Mahler never got hot till Lenny starts promoting.

Compared to the earlier mono ( Carnegie '54 live ) recording the sound is a huge improvement: wider dynamic range, spacious soundstage and lower noise floor.

What’s missing is that special kind of intimacy and immediacy mono recording gives which can give better in-room presence.

Funeral march is sufficiently rustic with a dry sounding cello starting off the tune. Walter maintains gentle touch through the procession. Perhaps it feels more genteel from his earlier set. The music comes off and unfolds naturally. 4th does not have the same degree of jump factor as the '54 recording but much easier on ears. Rich layering of textures and colours albeit less saturated. Perhaps a bit less urgency at the end but it is still plenty of majesty and stupendously powerful closing leaves me dumbfounded.

Walter passed away a year later after this recording was made.

Posted on: 29 November 2015 by osprey