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Showing 126-150 of 414 posts in this discussion
In reply to an earlier post on 12 Nov 2013, 03:43:57 GMT
Last edited by the author on 12 Nov 2013, 03:44:28 GMT
There's one on the budget EMI series that's a great sampler and the sound is great. You do know that the Brilliant Classics release is those same EMIs?

Posted on 29 Nov 2013, 16:16:09 GMT
The Academy of Ancient Music
lauches its new label with a "birth of the symphony" theme release
including Haydn's Symphony number 49 conducted by Richard Egarr.
Birth of the Symphony: Handel to Haydn
If I am not mistaking this must be Egarr's first record outside the Baroque repertoire as a conductor or have I missed something?

Look at the price tag on this CD and compare it with the complete Haydn box from Sony with D.R. Davies - it just doesn't make any sense...


BACH: The Art of Fugue - Les Voix humaines - ATMA Classique

>>Another attempt at finding the best orchestration for this elusive piece, played with warmth and humanity.<<

>>So along comes Les Voix humaines consort of viols to try their hand at it, and one must call it successful, though an instrument like the organ-which I personally believe is what the composer intended as a performance vehicle-has more color and can add needed dynamic changes and certain volatility to the timbre in a way that viols cannot. The performance is competent to a tee and very professionally executed though I remain unconvinced as to the historical veracity of the idea of viols playing this music. Well, does it even matter? This is Bach after all, and anything always goes! If you like your Bach on the warm and fuzzy side, this one certainly fits the bill, and is as valid as anything else that has come down the pike. If you want adventure, check out the Califax Reed Ensemble on MD&G.<<<
-Steven Ritter




David Hurwtiz gives Mutter's new Dvorak concerto a top recommendation:


I listened to it myself on Spotify and Mutter, Honeck and the BPO made me like the work for the first time.


MOZART Sinfonia concertante in Eó, K 364. 1 Concertone in C for 2 Violins, Oboe, and Cello, K 190 2 1,2 Pierre Amoyal (vn); 1 Yuko Shimizu Amoyal (va); 2 Ami Oike (vn); 2 Andrey Cholokyan (ob); 2 Fulvia Mancini (vc); Camerata de Lausanne * WARNER

>>>As in the Sinfonia concertante, Pierre Amoyal provides alert leadership and stylish playing, and assures that all of his colleagues share his artistic vision of a fluid and fluent Mozart. If you appreciate Amoyal's approach as much as I do, I can't recommend this disc too highly; you won't be disappointed. <<< Jerry Dubins



In reply to an earlier post on 29 Nov 2013, 23:19:04 GMT
Last edited by the author on 29 Nov 2013, 23:20:27 GMT
JayJayDee says:
The Mozart Concertone has been growing on me imperceptibly since I bought the Gielen Arte Nova disc of Mozart Symphony #39 back in the1990s ...Mozart: Symphony No.39/Concertone/Horn Concerto. Now... with three alternative versions which I accumulated without noticing... I find it as attractive as any of the five Violin Concerti.

In reply to an earlier post on 30 Nov 2013, 12:07:29 GMT
I agree with you JayDee - the Concertone is a fine piece - and perhaps you can say: "underrated".

Posted on 30 Nov 2013, 12:34:44 GMT
It's grown somewhat on me too over the years, and I'm a certified Mozart nut, but I still find most of the violin concertos (the exception being no.2) finer and more attractive pieces.

In reply to an earlier post on 30 Nov 2013, 16:35:11 GMT
Last edited by the author on 30 Nov 2013, 16:45:57 GMT
Edgar Self says:
Mozart's "Concertone" is a fine but rarely performed work. With two string and two wind soloists, it harks back to Haydn's sinfonia concertante and the concerto grosso.

Mozart seems to have written all his violin concertos on a visit with his father to Munich,playing them there himself. The third is choice, but others have their attractions. Formerly we mostly got the"Turkish", probably of its nickname. Then Grumiaux recorded the third "dream-andante", one of three Mozart wrote according to Afthur Hutchings, who ocoined the term in his monograph on the piano concertos, although Cuthbert Girdlestone's is even better. The others are in the 8th and 21st piano concertos.

In reply to an earlier post on 1 Dec 2013, 00:10:09 GMT
JayJayDee says:
Fair enough. I suppose I just wasn't expecting so much from a work catalogued as sub K200!!

In reply to an earlier post on 1 Dec 2013, 07:57:55 GMT
D. M. Ohara says:
You have just provided a new thread topic - the best of Mozart sub K200!
I would propose 'Exultate jubilate' K165 for starters.

Posted on 1 Dec 2013, 09:25:54 GMT
Good idea. I have a fondness for the little Divertimento in D, K.136, whether in full orchestral dress or in the chamber version.

Posted on 1 Dec 2013, 11:42:07 GMT
For the Rued Langgaard fans out there there is a new volume of string quartets coming out from the Nightingale Quartet.
Damn this video trailer clip sounds intriguing - I might buy it:


Posted on 1 Dec 2013, 12:37:33 GMT
After having seen Jed Distler's lukewarm review of the new Stephen Hough Brahms concertos (on Hyperion) I am glad I didn't pull the trigger:


Oh, but IRR has chosen it for their "outstanding" list:


In reply to an earlier post on 1 Dec 2013, 13:25:01 GMT
Last edited by the author on 1 Dec 2013, 21:13:55 GMT
D. M. Ohara says:
I have Hough's earlier versions of the Brahms piano concertos [on Virgin]. They were recorded in 1990/91 with the BBCSO, c. Andrew Davis. They are quite good, but not in the top rank: how could they be, with competition from Gilels, Serkin, Fleischer, Kovacevitch, Solomon, Curzon, Richter (only no. 2), Backhaus, etc.

Posted on 1 Dec 2013, 14:38:06 GMT
I'd imagine Stephen Hough might be a touch too tidy and well-mannered for these hefty pieces.

In reply to an earlier post on 1 Dec 2013, 17:05:57 GMT
enthusiast says:
All the symphonies before 28 are pre-K200. From 16 (K128) onwards at least (and I would say earlier) they are already forming a fine body of work. 25 (K183), is often thought to stand out but from 20 (K133) onwards there is a marked maturity and inventiveness. All of them are important masterpieces. The first quintet (K174) is also very fine.

In reply to an earlier post on 1 Dec 2013, 19:33:23 GMT
D. M. Ohara says:
Yes, the 'little g minor', K183 is a special delight. The bassoon concerto is K191 and another delight.

In reply to an earlier post on 1 Dec 2013, 20:51:36 GMT
Last edited by the author on 1 Dec 2013, 21:00:12 GMT

Thank you for the Brahms piano concertos recommendations!

Gilels with Jochum is probably my favorite.
You should add Barenboim/Barbirolli to your favorites.

I am curious about the Serkin Brahms concertos because I like his Sony Emperor with Bernstein so much - one of my favorite recordings for the moment.
But it looks like the only Serkin out there is with Szell as conductor - this one:
Brahms: Piano Concerto 1, 2, Tragic Overture, Academic Festival Overture
and I don't like Szell that much. (I already have the Brahms and Beethoven concertos he did with L. Fleischer).

In reply to an earlier post on 1 Dec 2013, 20:56:14 GMT
RE: low K. numbers:
I like the K. 80 string quartet - his very first quartet and the 136-138 divertimenti if played by a string quartet instead of a larger string ensemble (for instance Hagen on DG).
Like Dan Ohara I also like 'Exultate jubilate'.

In reply to an earlier post on 1 Dec 2013, 21:16:16 GMT
D. M. Ohara says:
I never met anyone before who didn't like Szell! I have the Barenboim/Barbirolli set of the Brahms concertos, but at an early hearing I turned away from it [as I did with the Barenboim/Klemperer/Beethoven set].
I don't really know why .. perhaps I should try again.

In reply to an earlier post on 1 Dec 2013, 23:42:53 GMT
enthusiast says:
The Serkin Szell Brahms concertos are high voltage and rather driven. They lack affection (something I think can be important in Brahms) but they make a stimulating change. In addition to the already mentioned Kovacevitch and Gilels I also like the young Barenboim (with Barbirolli) and Nelson Freire in this music.

Posted on 2 Dec 2013, 12:23:55 GMT
DMO: I had the same experience as you with those Barenboim recordings. I found them a little diffuse and self-indulgent, performances I'd be happy enough to hear at a concert (there is some lovely musicmaking there) but wouldn't want as my "default setting" to live with.

Posted on 2 Dec 2013, 17:52:48 GMT
Malx says:
Upcoming or recently released is this complete set of Mozart Symphonies:

Mozart: 45 Symphonies

Does anyone know the set? Is it a decent alternative to the usual suspects?

In reply to an earlier post on 2 Dec 2013, 19:04:56 GMT
enthusiast says:
Most of us here don't have default settings for standard repertoire, Harry. We have many accounts and we want them to sound different! The Barenboim/Barbirolli performances are full of passion and fire. "Self-indulgent" is a term that is thrown around too much, I fear. While I would agree that Brahms responds well to some classical restraint his music can also respond well to flights of passionate inspiration! The chemistry between the young Barenboim and the old Barbirolli is gripping. If indulgent means anything in a critique it must imply being boring or tedious, wouldn't you say?

Anyone who wants a default account would do well to get the very powerful Freire.

Posted on 2 Dec 2013, 19:38:19 GMT
That's a very fair post, enthusiast, and a very interesting one. Point taken about having many accounts - I don't tend to have more than perhaps 3 for any one work, but I happily accept that many here do, and in that context there would certainly be a place for Barenboim's versions.

Don't really agree about "indulgent/self-indulgent" though. For sure one doesn't want robotic performances, but not all flights of fancy in performance are appropriate or enjoyable. They can go too far and these terms are useful for when they do. Brahms is a particularly tricky composer to balance in this respect and Barenboim "stands and stares" just a tad too much at times for my liking.

At any rate, thank goodness we don't all like the same things. Apart from anything else, where would this forum be?

In reply to an earlier post on 3 Dec 2013, 13:00:13 GMT

I have the Adam Fischer complete Mozart symphonies on order and expect it to arrive tomorrow.
I have one of the individual releases with 28, 29, 30. It's not the best recordings I have heard of each symphony, but still good. I decided to order this set, because I wanted a modern chamber orchestra version since I wasn't satisfied with the MacKerras Prague cycle - too bad he didn't do a complete cycle with the Scottish orchestra.
I heard Adam Fischer and his Danish orchestra (which happens to be my local orchestra) play some of these symphonies live and it was much better than anything I have ever heard on disc.
Look out for a good price - when I ordered it I got it for just 21 punds!

In reply to an earlier post on 3 Dec 2013, 19:21:39 GMT
enthusiast says:
I listened again to the young Barenboim in Brahms 2 and can't hear the disturbance to the flow that you hear. I hear inspired music making that all has a clear direction and character. Everything seems to me to be for the sake of making great music rather than self indulgence. But, yes, we all have different tastes.

The qualities you find in this (younger Barenboim) are qualities I recognise distinctly in the work of the later, more mature Barenboim. I just don't hear it in the younger man who seemed to me to often be a very charismatic pianist.
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