What are you listening to and WHY might anyone be interested? (Vol.VIII)
Posted by: Richard Dane on 29 December 2011
With 2012 almost upon us, it's time to start a fresh thread. I've gone back to an earlier thread title because often the "why" is the most interesting part of the post.
Anyway, links:
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
Cheers
Flettster
Cheers
Flettster
Though only resurrected by Pablo Casals in the early part of the last century, the Six Suites for Solo Cello of J.S. Bach have been catapulted to an almost deified position within the cello repertoire; as such, they are among the most frequently recorded (and frequently debated) of Bach's works. Cellists and even historians are rarely in agreement as to the "proper" method of performance, or even the exact instrument that Bach had in mind when he composed the suites. Cellists continuously record the suites, and some artists even make multiple recordings throughout their career as their relationship with them changes. What this all comes down to for listeners is a matter of personal preference in style and approach. For listeners on the fence, or for those who are still unfamiliar with these magnificent compositions, this recording of the first three suites by cellist Martin Zeller is an excellent place to start.Zeller's approach is neither strictly Baroque "period practice," nor does he play with the overt and overdone romanticizing that other misguided cellists have chosen to employ. Rather, Zeller maintains the Baroque sensibility while allowing for some well-timed and appropriate rubato, subtle changes in rhythm, greater dynamic variability, and just a hint of romantic stylization. Perhaps the most enjoyable aspect of this disc, however, is its exceptional sound quality. Though recorded in a church, there's no trace of the boomy, overly reverberant quality that exists on many church recordings of the suites. Rather, listeners are surrounded by an unadulterated account of Zeller's powerful, warm, rich sound.
Haim,
I think we both can add the Martin Zeller and Eduardo Delgado (Ginastera) to our "when is volume 2 coming out" list!!
The start of a throw down of sorts (although I don't intend to eliminate anyone; I simply am looking to enjoy each on their own musical but individual merit).
The first titans - Claudio Arrau teamed with Otto Klemperer:
Ludwig van Beethoven:
Concerto for Piano no 3 in C minor, Op. 37
Concerto for Piano no 4 in G major, Op. 58
Concerto for Piano no 5 in E flat major, Op. 73 "Emperor"
Haim,
I think we both can add the Martin Zeller and Eduardo Delgado (Ginastera) to our "when is volume 2 coming out" list!!
Doug,
Garfinkle had recorded long time ago Ginastera's volume 2 but an unsatisfactory piece which had to be done again is being postponed forever despite the fact that Delgado lives in L.A. as well.
Only the fourth suite by Bach was recorded. Equipment malfunction and a missing of a promised five strings cello prevented from recording of the other two suites.
My proposal to Todd was to start for a change with a Volume 2 and perhaps the first one will come easier.
Haim
...here we have Edwin Fischer in the ring (Playing and Leading). It is only on the 5th Concerto that Fischer is joined by the exceptional Wilhelm Furtwängler in 1951. The 3rd and 4th were recorded in 1954. All three concertos played with the Philharmonia Orchestra.
Ludwig van Beethoven:
Concerto for Piano no 3 in C minor, Op. 37
Concerto for Piano no 4 in G major, Op. 58
Concerto for Piano no 5 in E flat major, Op. 73 "Emperor"
I've seen her a few times in concert. Outstanding. Not the most technically accomplished singer or guitarist, but a true artist. She can invoke real emotions....
This is definitely one for KK and Dusty.
House, Disco, Funk, Soul, R&B and Jazz Funk. Absolutely irresistible and great production too. Dare you not to dance !!!!!! I will be searching out their back catalogue.
Cheers
Flettster
My favourite Joey Negro albums:
The Beatles - Let It Be [Beatles Collection Box Set - MFSL 1-109]
Foramt: Vinyl
More vintage electronica on LP. This is good stuff
Good? It's brilliant ... a classic. I adore that album. It is Delia Derbyshire & friends from the BBC Radiophonic Workshop ... Delia was a genius in my view though not the tidiest around her house, which is why she moved so often. David Vorhaus was also on the album and was a fine exponent of electronica. This is probably the best electronic music I've ever heard. Her solo outing Electrosonic is great as was her work on the Tomorrow People collection.
Not heard Electrosonic Guy - will check that one out.
On CD
My favourite Joey Negro albums:
I was looking at the Defected one earlier but these are the one's that are piquing my interest:
And other albums on his label:
Feel a bit of Amazon coming on........
Cheers
Flettster
On Vinyl
Graham
A beautiful performance of this great opera. Dutoit and crew weave a dream-like musical landscape, where all characters seem to be enjoying healthy amounts of recreational substances behind, before and after the scenes.
Cheers,
EJ
The voluptuous sound and slow pace of the viola da gamba go perfectly with the first coffee of the day.
Op.26 and op.27, from Alfred Brendel's third Beethoven sonata set.
EJ
This is a fabulous double album. I love everything about it, music, art work, sound quality, packaging. Its Brilliant IMO.
Graham
Johann Sebastian Bach: Motets
Marcus Creed leading the Vocalconsort Berlin
Singet dem Herrn ein neues Lied, BWV 225
Der Geist hilft unser Schwachheit auf, BWV 226
Jesu, meine Freude, BWV 227
Fürchte dich nicht, ich bin bei dir, BWV 228
Komm, Jesu, komm!, BWV 229
Lobet den Herrn, alle Heiden, BWV 230
Ich lasse dich nicht, BWV Anh. 159
The cover here is the bottom right side portion of a self-portrait by Albrect Dürer's in 1493.