What are you listening to and WHY might anyone be interested? (Vol. XIII)
Posted by: Richard Dane on 01 January 2017
2017 has arrived today, so time to start this thread afresh.
Last year's thread can be found here;
(1969)
Mainly because I love playing the first track Chasing Shadows about six times before settling back and letting the rest of their debut album kick in. It has to be played at an appropriate volume, obviously. 
More Savall on Alia Vox. This time, a superb reading of Monteverdi's marvellous opera - one of the first ever written - Orfeo. As ever, brilliantly played and recorded.
(1969)
One of the first super groups who chose to fuse with a full symphonic orchestra, a brave and fairly successful move from all concerned. * I appreciate this double album far more today than I did on its issue when I was 16.
Kevin-W posted:More Savall on Alia Vox. This time, a superb reading of Monteverdi's marvellous opera - one of the first ever written - Orfeo. As ever, brilliantly played and recorded.
A big fan of Jordi Savall too, mainly for his ancient music interpretations of lute and other plucked instruments.
Kandace Springs - Soul Eyes
Stunning!
I suspect I may get moderated for posting this too frequently!
Original vinyl
Why? I need a balm for my soul at this moment and Mark and his cohort will provide it.
steve
A bit of Bria Skonberg After Bert's recommendation.
Streaming Tidal.
Original vinyl
Why? More balm. Not played this years.
steve
Again on Vinyl, play 'The Apple Stretching" right now:
".....
No, it ain't judgement day,
No, it ain't Armageddon,
It's just the apple stretching and yawning, just morning.
New York putting it's feet on the floor,
...."
enjoy
ken
a Folia de la Spagna may impress some listeners, particularly those who consider themselves hardcore devotees of period authenticity, a little like painting a moustache on the Mona Lisa. Nonetheless, the key attribute of La Folia de la Spagna is imagination; how far can we take this? How far can we go? Such an attitude cannot fail to lead to solutions that lead to provocative and renewed treatments of old music. One does not have to look very far to see the connection from this to the early music cum bluegrass idiom of the Baltimore Consort or the righteously rocking approach to medieval dance music practiced by the Dufay Collective. While it might not succeed as a "pure" realization of anything recognizable as early music, La Folia de la Spagna does succeed spectacularly well as a post-modern transformation of the concept of early music realization, and in this respect is in itself a pioneering, landmark work.(AllMusic)
https://www.youtube.com/watch?...Mf14eHZZqghrY8vvkyxs
Perfect for Sunday evening.
Antimatter, Leaving Eden. Tidal.
Deep and dark tracks sung with real emotion, recommend if you like this side of Prog.
Haim Ronen posted:
...and an excellent choice too. I will join you on this one. One of my favourite pianists (with a new album just released which I have listened to already earlier this week and will address the question of why soon !
Beethoven Piano Concerts 1&2 - Solomon
Solomon (always known by his first name) of a modest East End family learned to play the ear and was discovered at the tender age of 8. At the age of 16 and already an acclaimed pianist he took the time out to devote himself to study in order to achieve his ambition of being a world ranked pianist. By 1921 he emerged as a mature and sensitive artist with a remarkable flair for interpreting both classical and modern music in a wholly graceful yet potent manner.
This mono recording didn't work on my Rega RP10, but my newly restored Thorens TD124 with modest Dynavector DV10X5 cartridge excels with all my mono vinyl. I have to say that I am torn between my early Stephen Bishop Kovacevich recording (on CD) and this one. I have no musical training, but to me Solomon reveals hidden depths, which leave one in awe, in his recordings that I have not heard in others. The vinyl is still available, and if you have a good mono setup I think it would be worth buying.
Here is the Gramaphone review?
Here‚ on three (separately available) CDs‚ are Solomon’s legendary 1952/56 recordings of the Beethoven Piano Concertos and two Mozart Piano Sonatas‚ a felicitous coupling given his way of narrowing the gap between their supposed Dionysian and Apollonian genius. Time and again Beethoven’s exuberant‚ unpredictable nature (the poet of our inner and variable weather) is qualified by playing of a supreme poise and equanimity that omits so little of his essential character. It is also one of Solomon’s cardinal qualities that he makes it impertinent‚ if irresistible‚ to single out this or that detail‚ offering instead a seamless argument as supple and natural as it is understated.
How typical is his treatment of Beethoven’s many sf markings‚ hardly a question of rough places made plain but a tempering‚ civilised view of Beethoven’s writing‚ his boisterousness seen‚ as it were‚ from a distance. Like Schnabel (though so unlike him in many other ways)‚ Solomon makes the slow movements the nodal and expressive centres of each Concerto‚ and here his ability to sustain an Adagio or Largo is without equal (admirers will recall his unforgettable way with‚ say‚ the first movement of the Op 27 No 2 Sonata or the Largo from the Hammerklavier). This is notably true of the first two Concertos‚ where such writing becomes a timeless Elysium‚ music to soothe the savage breast rather than awake more immediate emotions. In the outer movements his superfine technique and musicianship make light of every difficulty‚ and at 6'55" in the Second Concerto‚ after an impatient if very Beethovenian entry‚ he recreates a truly magical sense of stillness and repose.
Elsewhere Menges gives us an unusually subdued Allegro con brio tutti in the Third Concerto‚ as if telling us that earlier gaiety and abandon is replaced with darker‚ weightier matters; very much what EM Forster called ‘Beethoven’s C minor of life’. Again‚ the Largo is impeccably controlled (try Solomon’s entry at 2'51"‚ a sweetly singing prophecy of Romantic things to come) and so‚ too‚ is the central Andante con moto from the Fourth Concerto. In the first movement I missed something of the rippling vitality that underlines such lyricism‚ and Solomon’s momentary lack of control at 9'37" is‚ perhaps‚ an indication of problems caused by Cluytens’ less than vital or stimulating partnership. And yet the finale could hardly be more vivace‚ with all the clarity and grace for which Solomon was celebrated.
In the Emperor Concerto Solomon somehow bridges the gap between the Fourth and Fifth Concertos. His immaculate ease and buoyancy in the doublenote descent just before the first movement’s conclusion‚ his limpid and serene traversal of the central Adagio are pure Solomon‚ and his finale is among the least opaque on record. Surprises include the shorter cadenza in the First Concerto‚ Clara Schumann’s cadenza in the Third (enterprising if less distinguished than Beethoven’s own magnificent offering) and a few teasing elaborations in the two cadenzas from the Fourth.
Of the conductors‚ Menges is the finer partner‚ though neither fully matches or complements his soloist’s calibre. The recordings come up well (though the sound in the Fifth needs some opening out; it lacks ring and brilliance)‚ and the Mozart sonatas are a delectable bonus. Listening to Solomon’s peerless pianism and musicianship – the one inseparable from the other – in K576‚ the critic discards pen and paper and listens in awe‚ wonder and affection.
Phil
Bon Iver. 22, a million.
First listen right now. It's good. Very good indeed.
Streaming Tidal. I liked Bert's recommendation and decided to have one more cup of the same.
Varvara Tarasova (piano)
Johannes Brahms (1833-1897): Eight Piano Pieces Op. 76 | Variations on a Theme by Schumann Op. 9
Robert Schumann (1810-1856): Carnaval Op. 9
Listening to Anna Vinnitskaya earlier today had some ulterior motives for me, other than that I really like her playing. Brahms Op. 76 is common to that disc and this disc and I can hardly believe my luck. What a wonderful pianist this Varvara Tarasova is as well. In fact, Vinnitskaya and Tarasova share a similar musicality in my opinion. Each does things differently but they are in that league of pianists who share their soul with us and search for the musical rendering of everything they touch. How refreshing to hear music instead of a racehorse banging away while trying to meet the latest speed records.
Tarasova in particular has a range from a quiet whisper to a strong fortissimo combined with utter precision. Listen to the sotto voce opening of the first Capriccio (Op. 76) and the beautiful crescendo that follows. What she does with voicing and shaping a musical line is very nice indeed (listen to Carnaval - say Promenade). If you follow the score it all makes perfect sense but it is entirely unique and follows her personality and heart.
I was bowled over after a first listen today and now after a second listen am even more excited. Piano sound is very nice indeed, as well. This is not for the person who expects the same old playing (speedy, bangy, lacking personality and musicality). If however, you want to hear a real musical view with all kinds of unique touches and a real musical heart most of all then this is a real treat (in my opinion). Another pianist after my own heart.
The Purcell quartet - J.S. Bach: Trio Sonatas
From the interpretation still a top recording
Still outstanding his Sibelius
I was promoted to play this after hearing the third movement played on Essential Classics this morning on BBC Radio 3 FM.
Quite enjoyable music while working...
