What Classical Music Are You Listening To?

[soulpope]

[Referentzhunter]

  On 4/10/2021 at 10:07 AM, soulpope said:

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excellent

[Referentzhunter]

Brahms - Symphony No. 3

[Peter Friedman]

[Peter Friedman]

[Д.Д.]

  On 4/10/2021 at 10:09 AM, mikeweil said:

Excellent! Quantz was a great composer - IMO his important influence on the generation of the Bach sons is still underrated. 

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We should start a thread about lesser-known baroque composers... 

[mikeweil]

More of this kind in the afternoon:

  On 4/10/2021 at 9:04 PM, Д.Д. said:

We should start a thread about lesser-known baroque composers... 

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The irony of things is, these were all major figures in their time! We are so limited in our evaluation of music from centuries ago.

[Peter Friedman]

[Referentzhunter]

[mikeweil]

[Peter Friedman]

[Referentzhunter]

Dvorak - Serenade for Strings

[mikeweil]

Excellent music, perfectly played. Two concertos each from his Berlin and Dresden years, all first recordings, the former with a bassoon/fortepiano continuo as was common at Frederick the Great's chamber music.

Edited April 12, 2021 by mikeweil

[Peter Friedman]

Op.50/4,  Op.50/5,   Op.50/6  

[Peter Friedman]

Beethoven - Op.135      &         Schubert - 4 Impromptus D.935

[Peter Friedman]

[mikeweil]

http://encelade.net/index.php/en/hikashop-menu-for-products-listing-2/product/25911-e-richard-teacher-of-the-sun-king-by-fabien-armengaud

Fantastic new recording shedding light on a rarely played part of the important Manuscripr Bauyn.

The harpsichord by Alain Anselm is modeled after 17th century French instruments, Vincent Thibaut de Tolouse in Particular, and sounds quite different than the more familiar Ruckers harpsichords.

[Д.Д.]

  On 4/11/2021 at 12:44 AM, mikeweil said:

The irony of things is, these [lesser-known baroque composers] were all major figures in their time! We are so limited in our evaluation of music from centuries ago.

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How "major" was Bach during his lifetime? He was definitely not obscure, has managed to get quite a few of his works published (with one Mr. Handel of London pre-odering a copy of I forgot which work exactly) but was he as well known and regarded as his contemporaries Handel, Telemann and Vivaldi?     

[Chuck Nessa]

[Hoppy T. Frog]

  On 4/12/2021 at 5:47 PM, Chuck Nessa said:

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How is Rathaus, spiky and modern or more on the romantic side? 

[Chuck Nessa]

  On 4/12/2021 at 6:07 PM, Hoppy T. Frog said:

How is Rathaus, spiky and modern or more on the romantic side? 

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Post Mahler.

[Rooster_Ties]

  On 4/12/2021 at 6:07 PM, Hoppy T. Frog said:

How is Rathaus, spiky and modern or more on the romantic side? 

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I really love all the Rathaus discs I own (maybe 5?) -- but especially that one that Chuck was just listening to, which I'd call the perfect introduction to him.

Chuck's description of it being "post Mahler" is probably far more descriptive that whatever I might try and say about it.  Certainly energetic, but not really spiky per se.  Neo-Romantic, with modernist leanings. Here are the first movements of each of the two works on that disc...

 

 

[Peter Friedman]

[Larry Kart]

  On 4/12/2021 at 9:11 PM, Rooster_Ties said:

I really love all the Rathaus discs I own (maybe 5?) -- but especially that one that Chuck was just listening to, which I'd call the perfect introduction to him.

Chuck's description of it being "post Mahler" is probably far more descriptive that whatever I might try and say about it.  Certainly energetic, but not really spiky per se.  Neo-Romantic, with modernist leanings. Here are the first movements of each of the two works on that disc...

 

 

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For me, early Rathaus -- e.g. Symphonies No. 1 (1921-22) and 2 (1923) -- is interesting but to some degree all over the place in its at times aggressive and, I would say, unassimilated modernism -- I hear "voices"and gestures but not so much Rathaus' voice,  and I don't think Yinon is the best advocate. Far better I think (I don't have strong memories of "The Last Pierrot") are such later works as Symphony  No. 3 from 1942-3 (Yinon again),  Suite for Violin and Orchestra (1929), Suite for Orchestra (1930), Serenade for Orchestra (1931), Polonaise Symphonique (1943), Uriel Acosta (1936), Vision Dramatique (1943) and, above all, Concerto for Piano and Orchestra (1967), which may be the most powerfuly melancholic piece of music I know. In these works the evolution of Rathaus' unique personal voice is unmistakable. The latter works mentioned above, beginning with Suite for Violin and Orchestra, are on CDs from Centaur  (Joel Eric Suben conducting) and Koch (JoAnn Falletta conducting). Sym. No. 3, coupled with 2, is on CPO.

Not to be missed on You Tube is Horenstein's live performance of Symphony No. 3. (You have to hunt a bit to find all four movements, but it's all there.)

The question remains, at least for me: what is the nature of the mature Rathaus' voice? 
I feel a bit silly saying this, given all the differences involved, but I feel he has a kinship with Schubert.

 

[Chuck Nessa]

I have most of the material Larry mentioned but am missing the Piano concerto - conducted by our local music director JoAnn Falletta.