What are you listening to? (VOL VI)

Geoff P just left and took this pic, somehow I didn't get to dusting the coffee table but everything in these stacks got played at least one side if not both.

quote:

Originally posted by mudwolf:
Geoff P just left and took this pic, somehow I didn't get to dusting the coffee table but everything in these stacks got played at least one side if not both.

looks like a great day of listening. Great layout!

atb
kk

quote:

Originally posted by KeanoKing:

quote:

Originally posted by mudwolf:
Geoff P just left and took this pic, somehow I didn't get to dusting the coffee table but everything in these stacks got played at least one side if not both.

looks like a great day of listening. Great layout!

atb
kk

Second that.

Morrissey - Years Of Refusal

Mozart, Rondo For Piano And Orchestra No. 2 KV 386 A Major

Carmen Piazini, Leningrad Soloists

Why might anyone be interested?

Because Piazini is simply a sublime Mozartian!

ATB from George

quote:

Originally posted by KeanoKing:
KK,

Thanks. I have been picking up Ray's Atlantic albums as well. This looks like a great set.

BTW, you may be intersested in this set. A friend of mine has it on perma-loan. 8 disc set from Atlantic records - Atlantic Rhythm & Blues 1947-1974

Pat

Hi Pat,

Not sure which one you are on about, a link would be great.

ATB
Paul[/QUOTE]

Hi Paul,

Sorry about that. Here you go. http://www.amazon.com/Atlantic...rtists/dp/B000002IRS

It encompasses a lot of artists from the label.

Pat

~<>~ Johann Sebastian Bach (1685-1750) ~<>~

Sonatas for clavier and violin BWV 1014 - 1019

Helmut Walcha cembalo
Henryk Szeryng violin

Performed in 1970
Philips 2 x LP box-set

The harpsichord used on this recording is a copy of an eighteenth-century instument by Pascal Tasking (1723-1793).
The main parts were made in the United States by Frank Hubbard and the instrument was assembled in Paris in 1968 by Claude Mercier-Ythier, who also made the case (also an exact copy). The decoration was reproduced by Jean-Jacques Roucheray. It is a two-manual harpsichord with keyboards of 63 notes each, the compass being F, to g'''.
There are three sets of strings: on the upper manual one 8ft. with lute stop and on the lower one 8ft. and a 4ft.

I was listening this when Young Sloop (now a 14 year old guitar tootin teenager) came in and slumped on the couch. I played him the Fly and commented how it seemed to be airbrushed from U2's greatest Hits packages. he then commented on the boring bass on "trying to throw your arms around the world" and said there was some cool bass on




Muse's Absolution particularly hysteria. After listening to a few tracks off this and on the subject of bass we moved in to




whose bass playing on Donna Lee did get an appreciative listen.


SJB

Dear Debs,


Helmut Walcha cembalo
Henryk Szeryng violin


This pairing had me fascinated from the start!

Is the result fine?

How does Helmut Walcha cope with a [at the time] rather modern violinsist?

I have never heard these performances ...

ATB from George

Dear George,

To be honest, it took me well into the second LP to get into it ...so to speak.

Szeryng’s violin is bordering shrill at times, albeit generally beautiful to listen too, and as i often find the case with cembalo/string pairing the harpsichord takes more of a back seat but I think this suits Walcha well with his sublime sense of rhythm, did he have a built in biological metronome?

Just to upset things further, I am presently playing the Arthur Grumiaux ~ Christane Jaccottet version of this same JSB work.
Grumiaux’s violin is sensitive and dreamy in contrast to a brighter, livelier harpsichord played by Jaccottet.
So the two interpretations of these pairings are quite different.

I really need to replay the Walcha/Szeryng set again now, because my mood was not in step at first.
But right now something tells me it would be interesting to hear a version with Walcha and Grumiaux! : )

Debs

Philips 2 x LP box-set

Queen Latifah & Carrie Underwood.

Let the game begin.

quote:

Originally posted by naim_nymph:



Szeryng’s violin is bordering shrill at times, albeit generally beautiful to listen too, and as i often find the case with cembalo/string pairing the harpsichord takes more of a back seat but I think this suits Walcha well with his sublime sense of rhythm, did he have a built in biological metronome?


But right now something tells me it would be interesting to hear a version with Walcha and Grumiaux! : )

My dream lineup for the time of recording (1970) would be Wolfgang Schneiderhan and Helmut Walcha.

I have heard the Szeryng/Walcha set long time ago. I thought that Szeryng was rather unable to cope with the strictness and inner logic of Walchas performance. Not that Szeryng is a bad violinist, but his picture of Bach is far away from Walchas. Szeryng is an artist to whom the timbre and the inflection of the sound is at least as important as the structure of the music, and he plays these Bach works in a way which would be more suited to Vienna classical music.

Super Bowl substitute:

quote:

Originally posted by naim_nymph:
Dear George,

To be honest, it took me well into the second LP to get into it ...so to speak. So the two interpretations of these pairings are quite different.

Szeryng’s violin is bordering shrill at times, albeit generally beautiful to listen too, and as I often find the case with cembalo/string pairing the harpsichord takes more of a back seat but I think this suits Walcha well with his sublime sense of rhythm, did he have a built in biological metronome?

Just to upset things further, I am presently playing the Arthur Grumiaux ~ Christane Jaccottet version of this same JSB work.
Grumiaux’s violin is sensitive and dreamy in contrast to a brighter, livelier harpsichord played by Jaccottet.


I really need to replay the Walcha/Szeryng set again now, because my mood was not in step at first.
But right now something tells me it would be interesting to hear a version with Walcha and Grumiaux! : )

Debs

Dear Debs,

I had a feeling that Szering might be dominant in timbral terms, though I imagine he would find tremendous value in Walcha's extra-ordinary sense of rhythm that is compelling, and resilient. Walcha is not actually metronomic [IMHO], but he certainly was a musician who paid deep respect to the text both in rhythm and spirit.

Before long I shall investigate the Walcha/Szering set. I have, and find unsurpassed, the Jaccottet/Grumiaux set, but the Podger set on channel classics might be best of all!

ATB from George

quote:

Originally posted by GFFJ:
Before long I shall investigate the Walcha/Szering set.

Do you know somwhere where it is available? I have never seen a CD release.

Dear Poul, Sadly not, though my antenna is hunting!

ATB from George

quote:

Originally posted by pe-zulu:
Do you know somwhere where it is available? I have never seen a CD release.

I have seen it on eBay... (£80 for cd format) and silly at that price imo! : (

£80 would have to be a racing certainty!

But it will come out again at a respectful price ...

ATB from George

quote:

Originally posted by MilesSmiles:
Those next few AudioWave titles better come out soon or I'm going cold turkey.




Alan and Joe hit a homerun with these titles.

Personally think they are even better than Steve's APO titles sound wise.

quote:

Originally posted by ewemon:
Personally think they are even better than Steve's APO titles sound wise.

Absolutely.

quote:

Originally posted by GFFJ:

But it will come out again at a respectful price ...

I really hope so, because 80 is just much too much.
Regards,
Poul