Back when I owned zero Mahler, I did a lot of research and the Kubelik was the one that got the highest ratings.
After just realizing that I have only listened to the first 17 CDs of this set, which I purchased years ago, I am now enjoying CD 18 from this set.
Josef Gabriel Rheinberger 1830-1901 Choral and Organ Music Il Polifonico, Italian Male Choir Fabiana Nora, conductor Manuel Tormadin, organ Brilliant Classics, 2023 I liked the Mass in F on a first listen.
Enjoying more from this set tonight and remembering what an explosive and technically impressive pianist he is. I've heard few pianists manhandle the piano like this guy.
Vivaldi Concerti Europa Galante Fabio Biondi Erato, 2017 9 CD box I just listened to the first 3 discs, L'estro armonico & La Stravaganza. I liked their versions very much.
For me, today it's been a long series of Edison cylinders (mostly vocal and mostly by singers not well remembered outside collectors' circles--or, often, even within them) and a smidgin of more recent recordings featuring music of Carl Czerny: a military divertissement for piano, 6 hands, and the piano sonata no. 4 in G, op. 65. The former is by another group of obscure players; the latter by the slightly better known Daniel Blumenthal. Just ended the run with Couperin's Les Fastes de la Grande et Ancienne Menestrandise in a 78 RPM recording on the minor General label by pioneering harpsichordist Alice Ehlers. Among the cylinders was an aria, the "Bombardonlied," from Ignaz Brull's Das Goldene Kreuz, a German comic opera that was very popular in the late 19th c. internationally and, in Germany, on up into the '30s but that pretty much disappeared when the Nazis banned it because Brull, although he had been a member of the Brahms circle, was Jewish. The recording, with anonymous piano accompaniment, is by one Franz Porten. I did a bit of nosing on line and found that (a) bombardon is the name of a type of tuba and (b) the opera's cast list includes a buffo bass part for Sergeant Bombardon--clearly, then, a comic character. The aria bears that out: it's a lot of fun. I have one other recording, on a Victor 78 with orchestra, by Otto Goritz; I suppose I should dig it out and compare the two sometime. I'll confess: as I listened to these various recordings, I also read my newspapers from yesterday and today, and the former had a bit of pertinent news: an obituary for Finnish composer and IRCAM alumna Kaija Saariaho. According to the article, she wrote "a dozen lengthy works for orchestra (with and without electronics), copious amounts of chamber music and vocal works, and five full-length operas." One of the last-named, L'amour de loin, was staged at the Met in 2016, the first work by a female composer to achieve that distinction since Ethel Smyth's Der Wald in 1903. A trumpet concerto, Saariaho's last completed work, is slated to have its premiere this coming fall. Time for another confession: as far as I know, I've never heard a note of her music, so perhaps somene more familiar with her work can give us an idea about it.
Franck Symphony in D minor Detroit Symphony Paul Paray Mercury, 1953 Eloquence I usually enjoy Paul Paray's conducting. This was no exception. The clarity of his interpretation leads me to consider the sweep and structure of the composition. The 'fine' recording could also contribute this. [Wilma Cozart and Robert Fine]
Just revisited something I hadn't played in far too long: Schumann's Kinderszenen played by Natan Brand. Schumann as it should be played. Thank you, George, for calling this pianist to our attention all those years ago!
now enjoying: Bach Violin Concertos in E Major and in A minor Double Concerto in D minor [with Maurice Hasson] Henryk Szeryng Academy of St. Martin-in-the-Fields Neville Marriner Philips, 1976
Listening to music of Rachmaninoff -- Preludes from Op. 23 & Op. 32 Sviatoslav Richter, piano Melodiya / Angel LP The thirteen Preludes recorded here have been released on several different LP (and CD) labels over the years, but Angel released this one in 1973 "in commemoration of the composer's centennial." The sonics are fine and Richter's playing is very dynamic and intense. According to the excellent liner notes by Rory Guy, Richter personally selected these thirteen Preludes (six from Op. 23 and seven from Op. 32) for this recording session. Guy further notes that "the seven Preludes from Op. 32 in this new recording are the identical seven he played in one of his American debut recitals at Carnegie Hall in October, 1960." Does anyone know if Richter ever recorded all 24 Rachmaninoff Preludes? Another question: Does anyone have a recommended set of all the Preludes? (I have complete sets by Ruth Laredo, Agustin Anievas, Michael Ponti, and Constance Keene.)
Sadly, no, he didn't. I have Anievas, Fiorentino, Santiago Rodriguez, Weissenberg and Ashkenazy. I would recommend the latter over the others. No set can ever be perfect, but I think Ashkenazy has that rare ability to play both the powerful and tender preludes well. I suggest avoiding the various CD remasters (I don't think they were done well) and sticking with the original mastering, which can be found in this set: Here's a sample of Ashkenazy's Rachmaninov preludes:
I don't know if I liked this music on the first listen. Britten Purcell Chaconnes and Fantasias Emerson String Quartet Decca, 2017
Found a copy on Ebay for $6 shipped! Thanks again. I'll let you know what I think when it arrives, but I'm sure Ashkenazy won't let me down!
And speaking of Ashkenazy... Now playing some of his Mozart on the turntable. This is the Piano Concerto No. 22, K. 482, and Concert Rondo, K. 382. London (Decca) LP / 1981 / Pressed in U.K. Ashkenazy's complete Mozart concerto cycle is probably overlooked today, with all the competitive recordings out there now. However, I find his to be one of the best: stylish, lively, and with a clarity of line that shows he's thoughtful and focused on breathing life into even the most minor of the works. Quite an accomplishment while conducting from the keyboard. It's not "HIP," but the Philharmonia feels so "right sized," tight, and spirited--in step with Ashkenazy--that I don't even think about HIP... I just enjoy it. Decca's analogue recording (in Kingsway Hall, London) is very satisfying.
Now playing. Poor recording but Gilels performance is excellent. 1955 mono. Orchestra recorded through a tin can, but piano is forward and relatively clear.
Hope you enjoy it! I like much of what I have heard from Ashkenazy, especially in Rachmaninoff, Scriabin and Chopin. One exception is his Beethoven, which I find too bangy. I haven't heard his Mozart, though it gets high marks in my favorite review book. If I wasn't already neck deep in Mozart concertos (Vegh, Perahia, Anda, Serkin, Moravec, Annie Fischer, Edwin Fischer, Schnabel, Casadesus, Haskil, Kempff, Solomon, Bachhaus, Rubinstein), I'd be quick to buy it. I love these works. I'll keep an eye out for used copies, thanks. I don't know if you've heard his conducting, but his Sibelius symphonty cycle is superb!
