Speaking of the Eterna music label, I am currently listening to their recording of C.P.E. Bach's Berlin Symphonies performed by the Carl Philipp Emanuel Bach Chamber Orchestra (of Dresden) conducted by Harmut Haenchen (the recordings were made in Berlin's Christuskirche on 3/85): I enjoyed these recordings so much that after the 1st listen, I turned around and listened again. These performances of C.P.E. Bach's Berlin Symphonies astonish and delight me. I am reminded that Carl Philipp Emanuel Bach remains one of the least known (and probably least played) of the Classical Era Composers (like his contemporaries Sammartini, Gluck, Clementi, Haydn, Joseph Bologne, Mozart and Beethoven) and I do not understand why that should be, given music of such prodigious wit and invention. At the very least, C.P.E. Bach's influence on Haydn, Mozart and Beethoven is very evident (to me) from listening to his Berlin Symphonies.
I love C.P.E.'s music and didn't realize he is so little known. I understand he is considered the most gifted of J.S.'s sons and was held in higher regard than his father during the 18th century by Beethoven, Haydn and Mozart. I assume the "rediscovery" of his father's work in the 19th century somehow put him in de shadows, but I believe his music is well-served nowadays on vinyl and CD. I have a lot of his works.
Yes...perhaps you are right. Perhaps C.P.E. Bach's work is overshadowed (nowadays) by that of his famous father...in the same way that the work of Joseph Haydn overshadows that of his brother Michael Haydn. Still, I can't remember the the last time I saw C.P.E. Bach on a concert program (perhaps these big East Coast Orchestras that I patronize, just don't play him).
True. And when you mention Haydn, people will always assume you're talking about Joseph. Same with Sammartini: Giovanni Battista is much better known than Giuseppe, even though the latter's concerti are wonderful. And poor Johann Sigismund never became as famous as Silvius Leopold Weiss, but that's perhaps for good reason.
1st Listen Franz Liszt, Aux Cypres de la Ville d'Este Nos. 1 & 2, Sursum Corda, Elegie 1 & 2, La Notte, Reinbert de Leeuw, Philips CD: Another mesmerizing disc (of Liszt pieces) by pianist Reinbert de Leeuw.
For the first time, I looked at the back of the SACD and noticed Christopher Hogwood was actually on the harpsichord ... Arranged By – Andrew Davis, Neville Marriner* Bassoon – Cecil James Cello – Kenneth Heath Composed By – Johann Sebastian Bach Conductor – Neville Marriner* English Horn – Celia Nicklin Ensemble – Academy Of St. Martin-In-The-Fields* Oboe – Neil Black (3), Tess Miller Organ, Harpsichord – Andrew Davis, Christopher Hogwood Painting – E.G. Haussmann* Photography By [Booklet] – F. Gittenberger* Sleeve Notes [English & German] – Geoffrey Crankshaw Sleeve Notes [French Translation] – Jean Dupart Viola – Stephen Shingles Violin – Carmel Kaine, Malcolm Latchem Violone – John Gray (7)
Now playing: Robert Simpson - String Quartet No. 10 (For Peace); String Quartet No. 11 - Coull Quartet - recorded 1986
Ooooh! Nice! I do have his keyboard music on harpsichord and forte, but I look forward to hearing his works on modern piano, especially by Hamelin!
1st Listen Mussorgsky Pictures at an Exhibition, Hiroko Nakamura, Sony CD: I stopped by my local Record store (Academy Records) last Thursday after work and found this (rare CD) of Hiroko Nakamura performing Mussorgsky's Pictures at an Exhibition. The 1st piece (Gnomus) sounds somewhat understated (at first) in Ms. Nakamura's hands. I like the way the piece builds though. Ms. Nakamura seems to have a fine grasp of Mussorgsky's grotesqueries and she brings out the macabre qualities in the music. I like the patience that I hear in her interpretation. I am enjoying her interpretation of the 2nd piece as well (Vecchio castello). I hear excellent pacing that recreates the feeling (and pace) of walking through a gallery (admiring the paintings). I like the delicacy that I hear in Ms. Nakamura's playing. Too many players sacrifice delicacy and nuance for bravura and hammer blows (in these pieces) which eliminates the sense of contrast between the pieces (the equivalent of the modern loudness wars). I like the qualities of whimsy and charm that Ms. Nakamura brings out in the 3rd piece (Tuilieries). I like the world weariness that she brings to her interpretation of the 4th piece (Bydlo). I like the way that Ms. Nakamura uses the Promenade theme to link the pieces. I love the whimsy that I hear in her interpretation of the 5th piece (Ballet of the Unhatched Chicks). I hear a great deal of charm and insight in Ms. Nakamura's interpretation of the 6th piece (Samuel Goldenburg and Schmuyle). Ms. Nakamura continues to delight with the charm and whimsy of the 7th piece (Market place at Limoges). I love the way she handles the transition into the 8th piece (Catacombs). She brings a sense of menace and mystery to the sepulchral subject matter. I love the drama that Ms. Nakamura brings to her interpretation of the 9th piece (the Hut of Baba Yaga). She really brings out the supernatural aspects of the subject matter. I hear the same quality of drama in Ms. Nakamura's interpretation of the 10th and final piece (the Great Gate of Kiev). I like the contrast that I hear in Ms. Nakamura's interpretation. Most pianists gloss over details that Ms. Nakamura highlights in her nuanced interpretation. This has to be one of the most poetic and nuanced interpretations of Mussorgsky's Pictures at an Exhibition that I have yet come across. I have lost count of the number of ham-fisted interpretations of Pictures that I have heard (crudely) banged out over the years. Mercifully, Ms. Nakamura's interpretation is not one of those! It is the opposite in fact. Splendid. The recording was taped in the Sun Pearl Arakawa Hall in April 1982. I give all the credit for my (fortuitous) discovery of Hiroko Nakamura (a few months ago) to my local Record store. I never would have discovered her otherwise. Thank God that there are still one (or two) good record stores left in New York City.
M 30055, issued 1970. Time for the younger guys. Recorded 10/8/70, Abbey Road Studio No. 1, London. Producer: Paul Myers. Engineers: Alan Stagg & Roy Emerson. Stagg was a veteran EMI engineer who eventually became manager of Abbey Road Studios. 1970s pressing. I think this is my first LP in a new Masterworks catalog system , with the M prefix & six-digit numbers.
On the turntable: Pierre Penassou, Jacqueline Robin – Masterpieces Of The 20th Century For Cello & Piano 2 Arion – ARN 90412
Listening to "Palestrina - Mass for Pentecost and Motets" performed by the Christ Church Cathedral Choir directed by Stephen Darlington on Nimbus.
Some beautiful music to hear this early Sunday morning. And this is CD 1 from the 1970s section of Karajan Complete DG/Decca as I continue on my listening journey to hear every disc in this gargantuan box set. The 60s section contained many iconic recordings, some of which, I have on LP and, many of which, I had seen in the bins or later issued in CD format. I think the 70s section will prove to be another listening delight. My objective is not to criticize these recordings but it is to enjoy them in a comprehensive way in the order in which they were originally created. I thought that if I randomly sample this box set there will be so many recordings left unheard and the purchase will have been wasted in a way. So-my dogged quest continues! Thank you for your patience!
By the way: that Bruckner 8 conducted by Knappertsbusch was pretty amazing( posted yesterday). I must explore some more Bruckner.
Now playing the following SACD from my Handel collection ... IMHO, Daniel Chorzempa is the best living American-born organist and used to record exclusively for Philips in its glory days. The last I read about him was he renounced his American citizenship and became an Austrian citizen where his parents originally came from. So Organ Concerto No.13 in F is "Cuckoo and the Nightingale" ...
IIRC, Stephen Darlington has made quite a number of early music recordings for Nimbus but I only have one so far ...
IIRC, I have both the LP and the CD but have not listened to either in ages since I mostly only listen to HIP performances for baroque works over the past twenty years though I make exceptions for Marriner and ASMIF ...
