What Have You Been Listening To Lately? - #3

[ElliotViola]

Prokofiev 1st String Quartet (Not sure who's playing it)
Rachmaninov Symphony No.2 (RPO)
Bach Goldberg Variations (Glenn Gould)

[Roehre]

Today:

Michael Haydn :
Divertimento in C for 2 violins, 2 violas and double bass P.108 / MH 187
(By Katie Durham [lunch concert May 17th ] announced as a quintet by Joseph Haydn for 2 violins, cello and ‘bass [sic!])

Joseph Haydn:
Symphony No 101 in D “Clock” (arr Salomon for flute and string quintet)

Salieri:
La grotta di Trofonio: Overture (1785)

Mortelmans:
2 elegies (1917)

Last night’s TtN iPlayer: the Turkish Craze (very enjoyable and well programmed series of nearly all bleeding trunks):

Süssmayr:
Sinfonia Turchesca

Hasse:
Solimano: Sinfonia; "Tu sai ch'io sono amante"; "A terminar la trama"; Sinfonia dell'Harem; "Che all'idol mio ricusi; "Ti sembro ingrata"; Sinfonia avanti la Scena 8

Gluck:
Le Cadi dupé:
"Ah, que le sort d'une femme est à plaindre"; "Qu'en dites-vous"; "Ah! Quel heureux jour pour moi”; "Entre ma femme"; "Perfide coeur volage

La Rencontre imprévue:
Overture; "Les hommes pieusement"

Haydn:
L'Incontro improvviso:
Overture; "Castagno, castagna";"Il Profeta Maometto";

Kraus
Soliman II
"I, som föragten krigets fara“

[Roehre]

Today:

Gruber:
Aerial (1999) (R3: iPlayer Pre-Hear June 23rd )

Goehr:
Clarinet Quintet (2007) (R3: iPlayer H&N June 23rd)

Pfitzner:
The 5 original orchestral songs:
Die Heinzelmännchen op.14
Der Trompeter op.25/1
Klage op.25/2
Herr Oluf op.12
Lehte op.37

[Roehre]

Today:

Pfitzner:
The 12 orchestrated songs originally with piano:
4 Songs opus 4
Nachts op.26/3
Zorn op.15/2
An die mark op.15/3
Ist der Himmel darum im Lenz so blau op.2/2
2 Songs opus 3
Wandrers nachtlied op.18
Willkommen op.29/3

[James C. Fretz]

Rediscovering this marvelous recording of the opera-ballet, a jewel from 1739.



I find it best not to be too rigorous when it comes to following the libretto. Better to sit back, close eyes, and simply enjoy the music.

[Roehre]

Today:

Beethoven:
Piano trio in E-flat Hess 47 (early 1800s; = recycling of String trio opus 3 1st mvt)
Piano trio in D K.Anh. 3 (1790s)
Piano trio in E-flat opus 63 (1806?; = recycling of string quintet opus 4, itself a recycling of the octet op.103)

Schubert:
Secular choral works, i.a.:
Drinking songs D.356, 148, 183, 267, 75, 847, 427, 242
Jagdlied D.521
An die Freude D.189
Punschlied D.277 and 253
Frühlingsgesang D.709 and 740

Hoddinott:
Landscapes op.86 (1975) (a description of the countryside I see from my home)

van der Stucken:
Sinfonischer Prolog zu Heinrich Heine's Tragödie 'William Ratcliff' (1883)

de Boeck:
De kleine Rijnkoning (1906) – orchestral suite after the opera De Rijndwergen (1906)

[Roehre]

Today:

Coates:
The three Elisabeths suite (1944) (the latest BBC-M CD: 60 years of BBC Concert Orchestra)
(Why aren’t the excellent solo oboe and horn players in mvt 2 mentioned in the booklet?
The oboe solo is a nice emulation of the English horn solo in Dvorak 9 2nd mvt, btw )

Arnold:
Symphony no.1 op.22 (1949)

Enescu
Rumanian Rhapsody no.1 in A op.11

Johan Strauss II:
Tritsch-Tratsch Polka op.214 (1858)
(Who said the VPO is the only orchestra who plays this repertoire with bravura ?)

[Quijote]

Hello Roehre, I'm always happy to read what you've been listening to. Perhaps you missed a former post I made in response to one of yours where you were less than happy with the sound quality of the recent Bruckner 9 (with reconstructed SPCM Finale) / BPO / Rattle. To be frank, I'm perfectly happy with the sound quality, but I'm rather more interested to have your esteemed opinion of the reconstruction itself.

[Roehre]

Originally Posted by Quijote

Hello Roehre, I'm always happy to read what you've been listening to. Perhaps you missed a former post I made in response to one of yours where you were less than happy with the sound quality of the recent Bruckner 9 (with reconstructed SPCM Finale) / BPO / Rattle. To be frank, I'm perfectly happy with the sound quality, but I'm rather more interested to have your esteemed opinion of the reconstruction itself.

Sorry I messed your post Quijote.
I was present at the very first european performance (i.e. two days after the American world premiere) of the 1984 Carraghan realisation in April 1985. From then onwards I have followed the developments quite closely.

The state of the material for the finale at Bruckner's death is very much similar to that of Puccini's Turandot, Busoni's Faust, Bartok's 3rd piano concerto or (more so) his viola concerto: there is a full score (which obviously needs editing) for by far the best part, there are sketches for the ending, but with one important exception: the very coda.
The booklet gives the statistics, but these are slightly flawed as they don't mention the connection between the sketches and the torso-orchestral-score, or from which external (Brucknerian, but not immediately 9th symphony related) sources Mazucca et al have drawn material to use, or which part of the coda -i.e. say the last 20 bars or so- is a complete putty.

I think, knowing the movement's torso very well, that with the use of the existing sketches, this completed mvt is more than 90% Bruckner - the team has IMO done a brilliant job. But let's not forget that Carraghan was an even greater achievement: being on his own, and with less material to rrely on, his version is an excellent alternative to the one Mazucca et al as now presented by Rattle.

Since 1985 I found the 3mvt Bruckner 9 really lacking its final mvt - I hope with this recording people begin to understand that the finale is an unmissable part of Bruckner's conception of the work and that the final moments of the Adagio, how emotive and brilliant these are, are NOT the composer's farewell to the world (as sometimes sentimentally is assumed)

[Quijote]

Thank you for that, Roehre. There is an article about this very subject in the latest Bruckner Journal by one of the 'reconstruction team' (John Phillips). I'll post it to you privately, if you want, as I can't post it here for copyright reasons.