Yes, but appealing is not my goto, his battle between apposing forces, it's aways there, a bit like Nielsen. Possibly my favourite American composer although I hate compartmentalising any art form.
Here's what I've been listening to today. Nowadays I almost always start the day with a disc of cantatas: Bach: Cantatas, Vol. 15 (BWV 40, 60, 70, 90). Yukari Nonoshita, Robin Blaze, Gerd Türk, Peter Kooij; Masaaki Suzuki: Bach Collegium Japan. BIS, 2001. For a while I didn't like Schumann's piano music that much (besides the Fantasie op. 17), but Schiff's double album is changing that. The Geistervariationen are particularly interesting, as is the alternate, original 3rd movement of the Fantasie in which Schumann reprises his own quotation from the first movement of Beethoven's "Nimm sie hin denn, diese Lieder" theme. In my very humble opinion I like it better than the standard, published ending. Schumann: Geistervariationen. András Schiff, ECM.
J S Bach: The Sonatas & Partitas for Violin Solo. Thomas Zehetmair, ECM. I've been listening to Kurtág's quartets and this CD in particular a LOT this week. These usually very short pieces are very involving and personal, with beautiful colors and contrasts. The Quartet Gerhard also have a nice recording of the Officium breve. Kurtág: Musik für Streichinstrumente. Keller Quartett, Miklos Perényi, György Kurtág. ECM.
True, but when the partnership ended, this Aida ended up with Decca, which would have had an interest based on the participation of Solti.
Two Piano Concertos 150 years apart, from Mozart to Schoenberg. Glenn Gould relished the contrasts and even supplied the lengthy liner notes (most devoted to the Schoenberg) for this 1962 Columbia album. The Schoenberg Concerto--a twelve-tone work--is played as four movements without pause. This is not something pretty to relax by; it's complex, dense, full of constantly shifting moods and challenges the listener to hold on for the ride. Usually this kind of music is not my cup of tea, but I really like this work and the performers are obviously giving it their all. Of Mozart's 27 Concertos, the 24th is the only one Gould ever recorded because, in his words, "...it's the only one I half-way like." He opines that Mozart wrote some exalted orchestral parts, but often the piano part seems underdeveloped--which is probable as Mozart often sketched out his part in the score, then embellished at the keyboard when performing. Gould even admits to augmenting the bass line on occasion in the first two movements here, "though wholly within the spirit and substance of the work." It's the 3rd movement, though, that's the real gem of the performance where Mozart builds upon a set of variations, progressing to an elaborate fugue, and holds back the orchestra to let the piano shine. This is where Gould cuts loose with such zeal and abandon, you can tell he's really in his element and it's a true delight to hear. Recorded in Massey Hall, Toronto, Canada, in January 1962... the Mozart on the 17th with Walter Susskind conducting, and the Schoenberg on the 21st with Robert Craft. Candid photo below shows Gould at the recording session.
Yes, it's quite funny. I must admit that I tend to agree with Mr Hurwitz, the earlier Davis/BSO set is far better than his LSO remakes. Haven't heard his third set on LSO Live.
Now playing CD1 - Symphonies Nos 1 & 2 from the following box for a first listen. It took almost a month for this set and a few other twofers to arrive from the UK thanks to all the Covid-19 related delays ... These are the first Martinu Symphonies in my collection.
I have the symphonies on LP-the old cycle conducted by Rozhdestvensky and issued as part of the USSR Ministry of Culture series issued on theMelodiya label.
Excellent. Fantastic music. Myaskovsky really has become a favorite of mine over the past 11 years. There’s always something alluring within his music that pulls you in.
