Classical Music Only | What You're Listening to Now, Or Very Recently | Any Mediums :
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Kuoppis
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I posted this before.
One of my "deserted island records".
When I listen to this, my whole self is taken back to that fantastic night in Bruges, where this pianist played quite some of these works.
Every time again, I am deeply touched by them.
Long term effects of live concerts, they do exist.
What a great hobby we have...
From SACD-net:
I don't have time for an extensive piece by piece review, but suffice it to say that this recording contains beautiful playing captured in beautiful sound. El Bach's name is new to me, but he has quite an impressive background and has won prestigious competitions.
My test piece by Ravel is "Gaspard de la Nuit." Compared to Ivo Pogorelich, El Bacha does not so consciously/overtly "interpret" the music. He very elegantly (and dramatically when called for) presents the composer's music with stunning accuracy--this piece certainly seems not to hold any technical terrors for him. Pogorelich's "Scarbo" may scamper around a bit more menacingly at times, but El Bacha's still contains plenty of impact and is played with very musical phrasing. He's not from the daredevil "look ma no hands" school where the bravura obscures the music. This is not to say he doesn't add his own interpretive touches; it's just that he seems to want to present the music first rather than showing off his chops, of which he has plenty.
The sound is crystal clear with a medium distance perspective: the mics are not under the lid, nor are they in the rear of the hall. I'd say it's similar to Silverman's Mozart Sonatas on IsoMike--perhaps a bit brighter. The rear channels contain ambient information and virtually no direct sound.
So, if you place musical clarity and structure over throat-grabbing displays of prestidigitation, then this set might just be for you.
It's already too late, but I can't shut the system down.
I'm addicted to these pieces.
Listening in 5.0.
This is a really fine recording indeed.
Thanks for posting.
Sent from my iPad using Tapatalk
Oxalys - A conversation between friends
CD 1 of this fantastic box set, that has become one of our favourites.
'Prélude' it's called.
The Debussy is world famous of course, but what the ensemble with mezzo-soprano Christianne Stotijn, does with the utterly delicious work 'Quatre poèmes hindous' from Maurice Delage is stunning. One of the highlights of our collection for sure
CD 1 of this fantastic box set, that has become one of our favourites.
'Prélude' it's called.
The Debussy is world famous of course, but what the ensemble with mezzo-soprano Christianne Stotijn, does with the utterly delicious work 'Quatre poèmes hindous' from Maurice Delage is stunning. One of the highlights of our collection for sure
Listening to works we heard live Friday night:
Bartók - Chamber Works for Violin: 44 Duos - Contrasts - Sonatina
James Ehnes, violin
Michael Collins, clarinet
Amy Schwartz Moretti, violin
Andrew Armstrong, piano
Qobuz 24/96
We enjoyed the Duos very much.
Each time short stories, from half a minute to 2 minutes max.
Sadness, joy, dance, excitement,... it's amazing what you can express in such a short time.
Bartók - Chamber Works for Violin: 44 Duos - Contrasts - Sonatina
James Ehnes, violin
Michael Collins, clarinet
Amy Schwartz Moretti, violin
Andrew Armstrong, piano
Qobuz 24/96
We enjoyed the Duos very much.
Each time short stories, from half a minute to 2 minutes max.
Sadness, joy, dance, excitement,... it's amazing what you can express in such a short time.
Next piece Friday night was the Enescu sonata.
This is a good version:
Beethoven - Sonata in G major, Op. 96 for Piano and Violin
Enescu - Sonata No. 3 Op. 25 in Rumanian Folkstyle
David Abel, violin
Julie Steinberg, piano
Qobuz 24/176.4
Paired with Beethoven here.
The Enescu Sonata is full of emotion.
This is a good version:
Beethoven - Sonata in G major, Op. 96 for Piano and Violin
Enescu - Sonata No. 3 Op. 25 in Rumanian Folkstyle
David Abel, violin
Julie Steinberg, piano
Qobuz 24/176.4
Paired with Beethoven here.
The Enescu Sonata is full of emotion.
We finished the Friday concert with Brahms' first Piano Quartet.
Well, we got a great encore, the Andante of the 3rd Piano Quartet.
Brahms - Klavierquartett op. 25
Schumann - Fantasiestücke op. 88
Argerich - Kremer - Bashmet - Maisky
Qobuz 24/96
When you look at the musicians here, you know you're in for a treat. :thumbsup:
Well, we got a great encore, the Andante of the 3rd Piano Quartet.
Brahms - Klavierquartett op. 25
Schumann - Fantasiestücke op. 88
Argerich - Kremer - Bashmet - Maisky
Qobuz 24/96
When you look at the musicians here, you know you're in for a treat. :thumbsup:
George Enescu - Violin Sonata No. 3 / Romanian Rhapsody No. 1
Yehudi & Hephzibah Menuhin
USSR State Symphony Orchestra, Alexander Gauk
via Qobuz
Comparing the Wilson recording with this 30s version of the Enescu Sonata.
Sound: Wilson wins.
Performance: Menuhin, a landslide victory.
Yehudi & Hephzibah Menuhin
USSR State Symphony Orchestra, Alexander Gauk
via Qobuz
Comparing the Wilson recording with this 30s version of the Enescu Sonata.
Sound: Wilson wins.
Performance: Menuhin, a landslide victory.
Alexandre Tharaud - Versailles
Qobuz 24/96
Somehow, I forgot to listen to this album when it came out in November '19.
Maybe I thought that I knew the pieces he plays on this album already too well.
Well, I heard his Rameau on the radio today, and I was exhilarated.
He's doing better than Angela Hewitt!
Hewitt was my reference for Rameau on the piano so far.
Subtle and powerful at the same time, with details, ornaments - it is baroque after all! - in the music coming up more clearly than I had ever heard.
Very heartily recommended for fans of the French music of this era.
I am even more so now. :thumbsup::thumbsup:
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by.
The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano!
If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
Qobuz 24/96
Somehow, I forgot to listen to this album when it came out in November '19.
Maybe I thought that I knew the pieces he plays on this album already too well.
Well, I heard his Rameau on the radio today, and I was exhilarated.
He's doing better than Angela Hewitt!
Hewitt was my reference for Rameau on the piano so far.
Subtle and powerful at the same time, with details, ornaments - it is baroque after all! - in the music coming up more clearly than I had ever heard.
Very heartily recommended for fans of the French music of this era.
I am even more so now. :thumbsup::thumbsup:
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by.
The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano!
If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
Marini - Uccellini - Rognoni - Rossi - Selma - Dalla Casa - Kapsberger - L'Arte dii diminuire
L'Estro d'Orfeo, Leonor de Lera
Qobuz 24/88.2
This is one I want to hear in multi-channel.
As always with Challenge Classics, a crystal clear recording.
Invigorating playing, it really draws you into the music.
Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time.
Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more ‘beautiful’.
This programme explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist. © Challenge Classics
L'Estro d'Orfeo, Leonor de Lera
Qobuz 24/88.2
This is one I want to hear in multi-channel.
As always with Challenge Classics, a crystal clear recording.
Invigorating playing, it really draws you into the music.
Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time.
Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more ‘beautiful’.
This programme explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist. © Challenge Classics
I try to pick at least one totally unknown composer a week from the numerous new releases.
The Ricercar label seldom disappoints:
Johann Paul Von Westhoff - Suites for Solo Violin
Plamena Nikitassova
Qobuz 24/96
It reminds me of Biber.
And I can hear from where Bach's inspiration came, although it is not in the same league as the later master.
Absolutely worthy of my time.
I do like well composed solo violin pieces.
Johann Paul von Westhoff (1656-1705) was one of the most brilliant members of the significant school of violinists that flourished in seventeenth-century Dresden. This impressive virtuoso, who was even applauded by Louis XIV at Versailles, wrote the very first compositions for unaccompanied violin, which of course foreshadow the later masterpieces of Johann Sebastian Bach. The programme recorded here includes some suites from his collection published in Dresden in 1696, as well as the suite that was printed in the Mercure galant of Paris in 1683, following his visit to Versailles.
The Ricercar label seldom disappoints:
Johann Paul Von Westhoff - Suites for Solo Violin
Plamena Nikitassova
Qobuz 24/96
It reminds me of Biber.
And I can hear from where Bach's inspiration came, although it is not in the same league as the later master.
Absolutely worthy of my time.
I do like well composed solo violin pieces.
Johann Paul von Westhoff (1656-1705) was one of the most brilliant members of the significant school of violinists that flourished in seventeenth-century Dresden. This impressive virtuoso, who was even applauded by Louis XIV at Versailles, wrote the very first compositions for unaccompanied violin, which of course foreshadow the later masterpieces of Johann Sebastian Bach. The programme recorded here includes some suites from his collection published in Dresden in 1696, as well as the suite that was printed in the Mercure galant of Paris in 1683, following his visit to Versailles.
Telemann - 12 Fantaisies
Héloïse Gaillard, flutes
Take away one instrument from this recording and you end up with... complete silence!
Amazing recording.
And Telemann is absolutely one of my favourite baroque composers.
Agogique gave us some fantastic recordings.
I cherish their albums I own.
Bach - Harpsichord Concertos
Il Pomo d'Oro, Francesco Corti
Qobuz 24/96
These masterpieces can be heard over and over again.
In this album the harpsichord has a very pronounced place - its righteous place - in the recording.
Recommended.
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development.
Francesco Corti and il pomo d’oro present Concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations. © Pentatone
Edit: Strange that all the Qobuz covers disappear(ed) in this thread...
Il Pomo d'Oro, Francesco Corti
Qobuz 24/96
These masterpieces can be heard over and over again.
In this album the harpsichord has a very pronounced place - its righteous place - in the recording.
Recommended.
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development.
Francesco Corti and il pomo d’oro present Concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations. © Pentatone
Edit: Strange that all the Qobuz covers disappear(ed) in this thread...
chops
Active member
Roon/Qobuz 96/24
GSOphile
Active member
Listening to Beethoven's monumental Missa Solemnis. He spent almost five years composing this piece and believed it to be his best work. An all star cast: Studer, Norman, Domingo, Moll, Leipzig and Swedish Radio Choirs, Vienna Philharmonic, James Levine, DG CD.
The choirs in the final movement (Agnus Dei) will take your breath away.
The choirs in the final movement (Agnus Dei) will take your breath away.
Alkyogre
Member
These days I came across that a new album was made in januari 2020 the piano trios by Leonore piano trio. This album is not available for stream, only available as digital file or cd. I decided to buy that cd, in my country only one shop had this one in stock the other choice was directly buying from the UK, but that country is in lock down.
The cd arrived today, put it in my disc, and oh my.... This work is amazing, and the performance... perfect. The tracks with violin, cello and piano they sound lovely together
In my opinion: this is one of these albums that everyone must listen: I am so happy with this cd,
Attachments
Monsier de Sainte-Colombe et ses filles
Philippe Pierlot - Lucile Boulanger - Myriam Rignol - Rolf Lislevand
Qobuz 24/96
Pieces I know very well.
But they are played in a really marvellous way here.
These players have equalled Jordi Savall on the instrument.
This album goes right into my favourites.
Brilliant, and heartily recommended if you like Sainte-Colombe!
Philippe Pierlot - Lucile Boulanger - Myriam Rignol - Rolf Lislevand
Qobuz 24/96
Pieces I know very well.
But they are played in a really marvellous way here.
These players have equalled Jordi Savall on the instrument.
This album goes right into my favourites.
Brilliant, and heartily recommended if you like Sainte-Colombe!
pdub
New member
- Joined
- May 31, 2013
- Messages
- 234
I like Lislevand’s Nuove Musiche on the ECM New Series.
Will try after this has finished:
Lots of 20th century influences on Weiland’s String Quarters (DSCH, ....) but still a nice discovery and a perfect example of the sort of thing I never would have encountered without Qobuz/Tidal.
Parker
Edit: the dam pix were there in the draft.
Will try after this has finished:
Lots of 20th century influences on Weiland’s String Quarters (DSCH, ....) but still a nice discovery and a perfect example of the sort of thing I never would have encountered without Qobuz/Tidal.
Parker
Edit: the dam pix were there in the draft.
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