Steff Posted February 22 Posted February 22 Musical research. Trying to identify this piece. Seems to be from somewhere between 1600-1700? 6
attunement Posted February 22 Posted February 22 (edited) AARON COPLAND (1900-1990) • BILLY THE KID BALLET SUITE & STATEMENTS FOR ORCHESTRA LONDON SYMPHONY ORCHESTRA conducted by the composer ℗ 1959 Edited February 22 by attunement 5
Dilettanteque Posted February 22 Posted February 22 John Eliot Gardiner, Monteverdi Choir, Orchestre Révolutionnaire et Romantique - Brahms: Ein Deutsches Requiem 4 2
Dilettanteque Posted February 22 Posted February 22 Guarneri Quartet, Peter Serkin - Henze & Brahms Piano Quintets 3
Dilettanteque Posted February 22 Posted February 22 Emma Kirkby, Agnes Melio, Charles Medlam, Terence Charlston - Couperin & Lalande: Lecons de Tenebres 4
lemarquis Posted February 23 Posted February 23 On 22/02/2025 at 10:36 AM, Steff said: There's been lots of Schubert piano comparison in the #classical music chat group lately - Brendel seems to be liked by everyone. I have a soft spot for Nagano. That's enough to take a closer look at this. 1
lemarquis Posted February 23 Posted February 23 Great performance of this masterpiece, as you could expect from this combination. Pace is spot on, sound is fantastic. 6
RapidFire Posted February 23 Posted February 23 Johannes Brahms, Berliner Philharmoniker, Herbert von Karajan - Symphonien Nr. 2 & 3 4
RapidFire Posted February 23 Posted February 23 George Winston - Winter Into Spring 1982 Windham Hill Records 3 1
BioBrian Posted February 24 Posted February 24 And the verdict? (I'm almost too afraid to ask). Cadenza? Not sure if it's the same recording as in my old family collection (different cover, no Double Concerto in ours), but Furtwangler sounds familiar.
Steff Posted February 24 Posted February 24 Elizabeth plays an $8,000 baroque violin. Seems cheap.* Sounds wonderful. * 5 1
Ars Paart Posted February 24 Posted February 24 Not sure if I posted this before, but I'm listening to it again. Nielsen Symphonies 1-6, LSO, SACD. 4
padde23 Posted February 24 Posted February 24 1 hour ago, BioBrian said: And the verdict? (I'm almost too afraid to ask). Cadenza? Not sure if it's the same recording as in my old family collection (different cover, no Double Concerto in ours), but Furtwangler sounds familiar. Call me a traditionalist but I prefer the Joachim cadenza I never really got into Menuhin's playing - I liked the Elgar recording he did when he was 15 or 16 but apart from that I much prefer other players, I guess I like it clean and his sound is a bit wild for me. 1
Steff Posted February 25 Posted February 25 Following animated debates, treason, stratagems and spoils in the whatsapp group of late, I default to a compilation of the baroque. Should be safe territory. Just joking...like peas in a pod. 2 2
BioBrian Posted February 25 Posted February 25 15 minutes ago, padde23 said: I never really got into Menuhin's playing - I liked the Elgar recording he did when he was 15 or 16 but apart from that I much prefer other players, I guess I like it clean and his sound is a bit wild for me. Happy to say I haven't heard his Brahms since before my career started! I have to thank lack of a TT for not having to listen to those guys any more - Oistrakh, Menuhin, Szeryng, and so many others, who all played sharp, some of them quite 'rough' too, by modern standards. All powerful formative influences on my generation of wannabe fiddlers. Coming down to 440 A during my career (especially with Hennessy leading the TSO) and more refined/accurate playing generally was an interesting process; it might be hard to even comprehend the problem nowadays. Now we have perfect intonation and control from the wonderful Isabelle Faust and some others - the other side of the coin? I think I've mentioned before the relief of having speed control on my (DC) turntable, as I could, for example, slow down Szeryng's Bach suites to 440 A. Couldn't do that when I got a CD copy! Same with Menuhin's thrilling Paganini B Minor (2nd) Concerto - have him at the right pitch at least, and ignore the relatively flat orchestra! The development of 'perfect pitch' is not so easy when there are such widespread deviations from 'correct'. Having said all that, it wouldn't be right to slow down Menuhin's age 16-17 recording of Paganini's Moto Perpetuo - sometimes I wish I knew what he had for breakfast that day. But these days give me Janine, and I'll usually feel like life is OK. That's a bit of a euphemism actually. 2
padde23 Posted February 25 Posted February 25 11 minutes ago, BioBrian said: Happy to say I haven't heard his Brahms since before my career started! I have to thank lack of a TT for not having to listen to those guys any more - Oistrakh, Menuhin, Szeryng, and so many others, who all played sharp, some of them quite 'rough' too, by modern standards. All powerful formative influences on my generation of wannabe fiddlers. Coming down to 440 A during my career (especially with Hennessy leading the TSO) and more refined/accurate playing generally was an interesting process; it might be hard to even comprehend the problem nowadays. Now we have perfect intonation and control from the wonderful Isabelle Faust and some others - the other side of the coin? I think I've mentioned before the relief of having speed control on my (DC) turntable, as I could, for example, slow down Szeryng's Bach suites to 440 A. Couldn't do that when I got a CD copy! Same with Menuhin's thrilling Paganini B Minor (2nd) Concerto - have him at the right pitch at least, and ignore the relatively flat orchestra! The development of 'perfect pitch' is not so easy when there are such widespread deviations from 'correct'. Having said all that, it wouldn't be right to slow down Menuhin's age 16-17 recording of Paganini's Moto Perpetuo - sometimes I wish I knew what he had for breakfast that day. But these days give me Janine, and I'll usually feel like life is OK. That's a bit of a euphemism actually. I rarely listen to old recordings these days - I used to listen to Milstein a lot, he was my favourite of those old guys. His Goldmark recording is stunning. 3
Steff Posted February 25 Posted February 25 Pachelbel is one of the composers whom I try to like more than I do, from time to time. But I often find the compositions a little "rote" or lifeless. The ears are the puddles to the soul, or words to that effect. Partie II In C Minor is quite nice. 4
Steff Posted February 25 Posted February 25 (edited) Baroque trumpet compositions...very joyful...I am reminded of a line from Evelyn Waugh's Brideshead Revisited: ...when the chestnut was in flower and the bells rang out high and clear over her gables and cupolas, exhaled the soft airs of centuries of youth. Edited February 25 by Steff 6
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