What Have You Been Listening To Lately? - #3

[haydnguy]

Originally Posted by Roehre

IMO it is, but please note that Anonymous4 is only 4 female voices and 1vpp, while Red Byrd/ YORVOX is mixed and uses 2vpp.
But why not listening to the excerpts the Hyperion site offers to get an impression?

Roehre, I put the one you referenced on my Wish List, instead I got this one:

[Green Knight]

Robert Schumann--Symphony No.2 in C Major, Op.61, Symphony No.3 in E-Flat Major, Op.97 {"Rhenish"} and Symphony No.4 in D Minor, Op.120. All three symphonies feature the Berliner Philharmoniker led by Herbert von Karajan.

[Mambo]

Originally Posted by Green Knight

On Spotify:

William Schuman--Symphony No.6
Walter Piston--Symphony No.4
Both works performed by the Philadelphia Orchestra under the baton of Eugene Ormandy.

Antonin Dvorak--Symphony No.3 in E-Flat Major, Op.10, B.34 and Symphony No.6 in D major, Op.60, B.112, both featuring the Slovak Philharmonic Orchestra led by Stephen Gunzenhauser.
Franz Schubert--Symphony No.3 in D Major, D.200, featuring Eric Jacobsen conducting The Knights.

they look good Steve -
and as a reminder for me to revisit Piston and Schuman - always
both great

[Green Knight]

@ Mambo, They are good, though this time around I seemed to enjoy the Dvorak and Schubert far more than Piston and Schuman.

[Green Knight]

On Spotify:

Franz Schubert--Symphony No.4 in C Minor, D.417 {"Tragic"}, featuring the Philadelphia Orchestra and George Szell.
Franz Schubert--Symphony No.5 in B-Flat Major, D.485, featuring the Columbia Symphony Orchestra led by Bruno Walter.
Gustav Mahler--Symphony No.6 in A Minor {"Tragic"}, performed by the Cleveland Orchestra under the baton of George Szell.

[Roehre]

Today:

Bruckner:
Symphony no.9 in d (1890/’96; ed.Samale/Phillips/Cohrs/Mazzuca 2012)
BPO/Rattle. Well performed. However: I don’t like the sound of the recording: too saturated, too woolly, too much presence of the brass, especially the horn section (are there really only 15 brass players and “only” 8 horns?).

Birtwistle:
Cortege (2007)

[Bigbear]

Hello all...I was wondering if anybody on this forum could enlighten me about their emotions when listening to music. I listen a lot to classical music, be it the piano trios of Beethoven or the Chopin nocturnes and everything outside and in between. However, i profess to be a lover of classical music yet i'm not always 'moved' by it. I don't always get that spine tingeing sensation when listening to say, i don't know, Schubert's G Major sonata D894. This is not to say i've never been moved by it, or indeed other pieces of music because i have. Yet, sometimes it's just doesn't affect me all the time. I have to been in the right frame of mind to be moved. Anyway, if you happen to read this and have any thoughts on the matter let me know. This is the first time i've been on a music forum so if you'd be so kind to let me know your thoughts on what i've just said email me rossa453@gmail.com (nothing foul or obscene please )Many thanks x

[Green Knight]

Ludwig Van Beethoven--Symphony No.2 in D Major, Op.36 and Symphony No.4 in B-Flat Major, Op.60, both performed by the Berliner Philharmoniker under the wand of Herbert von Karajan.
Pyotr Tchaikovsky--Symphony No.3 in D Major, Op.29 {"Polish"}, featuring Igor Markevitch conducting the London Symphony Orchestra.

[Quijote]

Originally Posted by Roehre

Today:

Bruckner:
Symphony no.9 in d (1890/’96; ed.Samale/Phillips/Cohrs/Mazzuca 2012)
BPO/Rattle. Well performed. However: I don’t like the sound of the recording: too saturated, too woolly, too much presence of the brass, especially the horn section (are there really only 15 brass players and “only” 8 horns?).

What did you think about the reconstructed SPCM finale, Roehre?

[Roehre]

Originally Posted by Quijote

What did you think about the reconstructed SPCM finale, Roehre?

Good piece of work.
But it must be said that I do like the Carraghan completion very much too - ever since I was present at the european premiere of his early 1980s attempt in April 1985.
The point is of course, that compared with Mozart's Requiem, Mahler 10, Puccini's Turandot, let alone Schubert 8, Elgar 3 or Beethoven 10, Bruckner prepared a full score for approximately 85 % of it, and left extensive sketches for another approx. 5% plus the bars where from the full score a page has gone astray. This leaves the editors basically with the task of editing this draft score and adding 15%, that is a part of the fugue (for which sketches exist) and the whole of the coda (of which essentially nothing in any way has been drafted by Bruckner).

The situation of Bruckner 9 is relatively similar to Bartok's 3r piano concerto (last 17 bars to be added).

It is interesting to see how Carraghan tackles the problem of the coda compared to the SPCM team. It must be emphasized that the latter originally existed of two independently working duos of musicologists, who relatively recently joint forces in this project.