A Lark Ascending Posted February 18, 2013 Report Posted February 18, 2013 (edited) What it says on the tin - newly recorded things on their way that catch your eye. Here's one that I suspect will interest a few here: Nice cover too. Early March. Edited February 18, 2013 by A Lark Ascending Quote
David Ayers Posted February 23, 2013 Report Posted February 23, 2013 Well, those are reissues. I think we're supposed to be talking about new releases....It *may* be that No. 1 has not been released before, not sure. Quote
David Ayers Posted February 23, 2013 Report Posted February 23, 2013 Some high calibre advocacy for Gerhard: Quote
T.D. Posted February 23, 2013 Report Posted February 23, 2013 Some high calibre advocacy for Gerhard: Most interesting and worth checking out! I own several Gerhard CDs, including a couple from the "Roberto Gerhard" series on the defunct Auvidis Montaigne label (for a moment I thought this Aeon disc was a re-issue of an old Montagne, for whom the Ardittis were practically the "house quartet"...). Quote
A Lark Ascending Posted February 23, 2013 Author Report Posted February 23, 2013 Good to see music like that coming out. I have a few of the Chandos Gerhard orchestral series - I've yet to really make sense of them. But has to beat another Beethoven cycle...or another 'historic' Beethoven cycle!... Quote
ejp626 Posted February 23, 2013 Report Posted February 23, 2013 Well, it is pretty hard to just keep up with forthcoming CDs, since after some time, the ones in the thread will just be new and not forthcoming. I also don't follow classical enough to be on lists where I get up and coming releases. Thus, I'm going to bend the rules a bit (i.e cheat) and consider CDs less than 1 year old as well. This one was pretty interesting: Orango by Shostokovich conducted by Esa-Pekka Salonen. Quote
A Lark Ascending Posted February 23, 2013 Author Report Posted February 23, 2013 (edited) I know nothing about this composer or the label (which is Finnish and has been around around 20 years). Just noticed this recording in a Gramophone advert (oh the power of advertising) and liked the cover! Sometimes it's good to just jump in and see (no danger then of being swayed by orthodox critical opinion) - that's what a lot of my early listening was like. The only evidence I have of the music is a company review (in translation, making its claims sound even stranger!) which makes a contemporary with Ravel reference. Well, it is pretty hard to just keep up with forthcoming CDs, since after some time, the ones in the thread will just be new and not forthcoming. I also don't follow classical enough to be on lists where I get up and coming releases. Thus, I'm going to bend the rules a bit (i.e cheat) and consider CDs less than 1 year old as well. This one was pretty interesting: Orango by Shostokovich conducted by Esa-Pekka Salonen. I don't know Orango, but Shosty 4 is pretty amazing. The one that got him into hot water with the authorities. Very Mahlerian. On a completely unrelated note, BBC Radio 3's CD Review programme this morning compared two recent Leningrads - one by Gergeiv (which got a thumbs down) and one by Nelsons (big thumbs up). I don't need another Leningrad (my Haitink from the 80s suits me fine) but it was good to hear the symphony itself getting such a spirited defence, especially the two central movements. It's always been a favourite of mine. Edited February 23, 2013 by A Lark Ascending Quote
David Ayers Posted February 23, 2013 Report Posted February 23, 2013 (edited) The Gergiev is very original and striking but wouldn't make the 'recommended version' category I suppose. I aim to hear the Nelsons in due course - looks like a fast one like the Jarvi. I always like to hear different versions of works I care about in any way. I'd rather listen to five versions twice each than one version ten times. Of the Gergiev Leningrads I prefer the one with LSO which I heard and which I have on tape. The earlier Mariinsky/Rotterdam is probably more mainstream. The new one milks the slow movements for all or really more than they are worth, but is notable and thought-provoking, and in the right mood effective. Never heard of Alba or Pohjola. Like Finnish things. Just got back from working there this week... Edited February 23, 2013 by David Ayers Quote
A Lark Ascending Posted February 23, 2013 Author Report Posted February 23, 2013 The Gergiev is very original and striking but wouldn't make the 'recommended version' category I suppose. I aim to hear the Nelsons in due course - looks like a fast one like the Jarvi. I always like to hear different versions of works I care about in any way. I'd rather listen to five versions twice each than one version ten times. Never heard of Alba or Pohjola. Like Finnish things. Just got back from working there this week... I'm happy to hear a piece in umpteen different versions - radio, concert etc. But I never feel the need to own more than one (in most cases) or two (where I'm looking for a more modern version). Finland intrigues me - partly because Sibelius was what grabbed me in classical music in the beginning and I've found its contemporary classical music varied and interesting; but also because it has a fabulous folk tradition. Sweden and Finland tend to dominate that part of the world in folky terms. I envy your visit to Finland - somewhere I'd love to visit. Quote
ejp626 Posted February 23, 2013 Report Posted February 23, 2013 I always like to hear different versions of works I care about in any way. I'd rather listen to five versions twice each than one version ten times. I do try to listen to different versions, but I am starting to wonder about how many versions do I need to own. Generally, one or two is sufficient, though with the rise of the mega box sets, I do have close to a dozen versions of Dvorak #9 and probably even more of Beethoven #5. Sadly, Spotify and most of the other streaming services still haven't made it up here to Canada. Which means I often have to take the plunge and buy a CD if I want to listen to a different conductor's interpretation. The library does have access to the Naxos library and I am starting to indulge in that a bit more seriously. Quote
David Ayers Posted February 23, 2013 Report Posted February 23, 2013 I suppose the issues of ownership are cost and storage. Since I listen infrequently but intensely, I don't mind the cost, but storage and consequently access are big issues for me. Quote
A Lark Ascending Posted February 23, 2013 Author Report Posted February 23, 2013 I'm susceptible enough to the capitalist model to require ownership of a piece; but not to require multiple versions based on minor differences or inbuilt obsolescence. Quote
David Ayers Posted February 24, 2013 Report Posted February 24, 2013 For myself, I just think, if there's something I would like, why miss out? It only costs a few quid to access it which is neither here nor there. But mainly I think that I want orchestras to be programming these works, I want orchestras to continue to thrive, and buying recordings is a way of supporting that, albeit economically a minor one in comparison to concert attendance. I don't duplicate repertoire which no longer strongly interests me, and I don't go back and buy old recordings, which I guess makes my method different from that of many. Quote
A Lark Ascending Posted March 23, 2013 Author Report Posted March 23, 2013 (edited) I've had the Chandos recording of the concerto since the 80s which suffers from the 'aircraft hanger' sound of Chandos at that time. Also a Lyrita version. Might well go for this as a modern version (thereby contradicting my one recording is quite enough puritanism!). Lovely couplings too - highly recommended for those with a taste for English cowpat. And with spring just the other side of the current blizzard, should be perfect. Edited March 23, 2013 by A Lark Ascending Quote
A Lark Ascending Posted April 6, 2013 Author Report Posted April 6, 2013 Heard some of this on BBC Radio 3's 'CD Review' programme this morning and it sounded wonderful. Petrushka played on two accordions - worked perfectly given its folksy nature. Quote
king ubu Posted April 7, 2013 Report Posted April 7, 2013 Anyone heard this one? I know it's no longer forthcoming, but ... And how about this one: It's from last year, but was only just (positively) reviewed in a Swiss daily. Quote
A Lark Ascending Posted April 8, 2013 Author Report Posted April 8, 2013 (edited) I only know 3 of the composers here. But it's nice to see a classical guitar record that doesn't just record the usual suspects. This has also just come out: More recent Goehr music. Edited April 8, 2013 by A Lark Ascending Quote
A Lark Ascending Posted February 2, 2014 Author Report Posted February 2, 2014 Due in the next month: Philippe Jaroussky (countertenor), Raquel Andueza (soprano), Vincenzo Capezzuto (alto), Dominique Visse (countertenor), Gianluigi Trovesi (clarinet) & Wolfgang Muthspiel (acoustic guitar & electric guitar) L’Arpeggiata, Christina Pluhar Interesting musician list. Definitely not for the HIP. Quote
Д.Д. Posted February 2, 2014 Report Posted February 2, 2014 Due in the next month: Philippe Jaroussky (countertenor), Raquel Andueza (soprano), Vincenzo Capezzuto (alto), Dominique Visse (countertenor), Gianluigi Trovesi (clarinet) & Wolfgang Muthspiel (acoustic guitar & electric guitar) L’Arpeggiata, Christina Pluhar Interesting musician list. Definitely not for the HIP. I am in! Quote
David Ayers Posted February 18, 2014 Report Posted February 18, 2014 I'll say more on Karabits when get round to it. Quote
A Lark Ascending Posted February 23, 2014 Author Report Posted February 23, 2014 Not a CD but an app: http://www.theguardian.com/music/tomserviceblog/2014/feb/20/john-cage-4minutes33-seconds-silence-app Think I'll wait for the Japanese XGFT bluchip version. Quote
David Ayers Posted February 25, 2014 Report Posted February 25, 2014 And most definitely not for me but I think I know who might buy it... Quote
David Ayers Posted February 25, 2014 Report Posted February 25, 2014 And more to the point re. our Weinberg discussion Just really don't want to hear the Britten again....And it seems that another violinist has already learned - and recorded - the Ades. Quote
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