Classical Listening

Oh, wonderful looking CD covers, surely worth the purchase just for that alone!

Having got my ticket for The Marriage of Figaro, which as I have left it late is just about on the roof, I've being listening and watching it over the last few days from a DVD production and online as well as various other pieces. (I still feel some of the beauty of the Italian is going to be lost in translation, but we'll see.)

Also attending a concert in a couple of weeks which includes Mozart's Oboe Concerto:
http://www.youtube.com/watch?v=o8_l0Sg7yGw

Wagner's Lohengrin Preludes Act 1 and Act 3:
http://www.youtube.com/watch?v=LMtRof9qJG8

Tchaikovsky's Symphony No.4:
http://www.youtube.com/watch?v=S-c1LLZaVCA

So, I've been listening to those too.

http://www.musicweb-international.co..._855921618.gif

Quote:

---

Originally Posted by stlukesguild

I find Bolcom's settings of William Blake's Songs of Innocence and Experience to be fascinating... if flawed work... but what else could one expect of something so broad and grandiose?

---

The best stuff on this set is phenomenal. It's quite a task to take it all in, but I'm very impressed. Even when Bolcom's eclecticism gets the better of him, I have to give him credit for his audacity.

When it all comes together, like on The Angel (Experience Vol. I Pt. 3), it's amazing.

Regards,

Istvan

I have been listening to classical music "seriously" since high-school. I truly began to build up a formidable music collection when I began working a "real job". My initial focus was to develop a sense of appreciation for the essentials from Vivaldi and Bach onward to the 20th century. I had some music post-Stravinsky (including Philip Glass, Gorecki, Copland, and a few others) but this aspect of my music collection remained in its infant stage until the last 3 or so years. Over the past year my focus has been greatly centered upon modern British and American composers. I came across several persons whose opinions on classical music I greatly respected who recommended Bolcom's Songs of Innocence and Experience. Considering the fact that William Blake is one of my absolute favorite artists/poets, I was greatly intrigued... but somewhat put off the idea of a 3-disc set by someone I had never heard of before. At some point last Spring I found this very set on sale from a secondary dealer on Amazon.com for a little over $4.00! I was unable to avoid it any longer, and so I ordered it.

I listened to it once all the way through... and was so impressed that I immediately gave it a second listening. Considering that I was just building my grasp of modern American classical music at the time I was not ready to declare the work an unqualified success... but I certainly found myself agreeing with others who suggested that the work was unquestionably Bolcom's masterpiece... and one of the greatest vocal works of the past several decades. There are but few new works that have so immediately grabbed my attention and impressed me to the degree that I wanted to listen to them again and again... almost as if to double check my first response.

Quote:

---

Originally Posted by stlukesguild

I certainly found myself agreeing with others who suggested that the work was unquestionably Bolcom's masterpiece... and one of the greatest vocal works of the past several decades. There are but few new works that have so immediately grabbed my attention and impressed me to the degree that I wanted to listen to them again and again... almost as if to double check my first response.

---

Like I said, I like it a lot. Some of these are so well crafted that it's unfortunate they're such miniatures: "The Lilly" crams a lot of vocal, orchestral, and choral detail into a minute and a half, and doesn't seem overwrought.

But let's be honest, the brilliance of so much of this set makes the glaring lapses in taste all the more painful. I'll give Bolcom the benefit of the doubt for not being reverent and playing it safe: putting "The Shepherd" in a country music setting at least makes sense, and the faux soul of "The Little Black Boy" is harmless. I realize there are domestic rather than artistic reasons for having his wife sing a cabaret version of "The Little Vagabond." However, "London" and the (ahem) reggae finale sound like something Andrew Lloyd Webber would have concocted.

Regards,

Istvan

However, "London" and the (ahem) reggae finale sound like something Andrew Lloyd Webber would have concocted.

Yes... there are glaring problematic sections... and in confronting these I think of Cervantes Don Quixote and the inclusion of Cervantes' egregiously bad poetry... not merely mediocre poetry... not poetry that simply fails to rise to the level of the book as a whole... but rather poetry that is embarrassingly... comically bad. Still... I find the whole quite impressive... and surely it never descends to the level of Karl Jenkins. I made the unfortunate choice of purchasing one of his choral works (a requiem?) after having read comments comparing him to Morten Lauridsen, Arvo Part, and John Tavener... all of whom I quite admire. Unfortunately, Jenkins is so comically bad it makes Lauridsen sound like Mozart or Bach.:yikes:

I don't know any classical artist or groups but strangely, when I'm driving to work or school, I find myself tuning the radio to the All Classical FM station. It's very soothing and it sounds beautiful, which is a nice change from the hardcore and rock on my iPod. It makes great driving music because I don't get so mad at all the slow/crazy drivers out there!

Well... let's just hope they don't put Stravinsky's Rite of Spring or one of Bartok's pieces on your radio station at drive time.:hand:

http://www.dramonline.org/content/co...ges/cr569d.jpg

Robert Hall Lewis is someone whose music has fascinated me lately, a composer with a very classical approach to modern orchestral sounds.

Motto, for orchestra (1980) Part I

Motto, for orchestra (1980) Part II

From the liner notes of this CD:

Lewis said that he adhered "to no particular school or system of composition" and that he considered himself to be an "independent maximalist." Lewis claimed that "it is very important that a composition have an original, distinctive character and an identity of its own, devoid of the obvious, derivative tendencies and commercial influences that surround us in much music today." His intent, he said, was to create a music of genuine interest to the listener, alternately surprising, provoking, soothing, stimulating and hopefully inspiring—an experience comparable to the limitless facets of existence.

Regards,

Istvan

I've been listening to some more modern and contemporary work for organ recently... pieces by Marcel Dupre and Peteris Vasks. I am especially intrigued with Vasks... who employs elements traditional harmony, atonalism or dissonance, folk music from his Baltic home, and Minimalism... without strictly adhering to any style. There is only one example of his organ music (Te Deum) to be found on YouTube:

http://www.youtube.com/watch?v=CpEFk...eature=related

Other works that can be sampled online include a work for solo cello:

http://www.youtube.com/watch?v=5YAJwxJ58hA

the Musica Adventus:

http://www.youtube.com/watch?v=dUbTY...eature=related

and part of a choral work, Dona Nobis Pacem:

http://www.youtube.com/watch?v=uZsen...eature=related

I quite like the Robert Hall Lewis works. They have something of the lush and ever-expanding sonic landscape and aural textures of Tristan Murail's work... yet with a more traditional/classical underpinning. I will need to look into him in the future. I'm always on the lookout for intriguing newer work.

Ah, I thought I was attending the aforementioned opera tomorrow but I findies out it is not until the 30th of this month? I am not very good at maths. But now I have nothing to look forward to tomorrow.:bawling:

Opera is beginning to warm my toes, I must say. I think that it is a shame that real life does not resemble opera more. I’ve been musing on a line by Wilde which goes “the real life is the life we do not lead” (my emphasis) which is in reference to something else, but also seems appropriate in the sphere of this unreal world of fiery passion and beauty which seems so superior to the everyday. Really, I find it hard to get excited by anything that is supposed to be real these days...

Forgive me, I’m just musing out loud or turning into a complete aesthete or something...:brow:

Well... I'm currently listening to the same opera... Le Nozze di Figaro... in this new recording by Rene Jacobs on period instruments following a historically informed approach to the orchestral performance and singing:

http://farm5.static.flickr.com/4067/...4a94d833_o.jpg

The recording is absolutely eye-opening!!:yesnod: Its incredibly fresh... muscular... and fun!... Yes! "fun". Maria Callas made the comment that too often singers approach Mozart as if singing on tip-toe. Today we might say they approach him as if they had a stick up their posteriors. In other words their reverence for Mozart keeps them from conveying the real drama... the audacity... the revolutionary and subversive aspects... and the sheer joy... the "fun". I can't wait to listen to Jacobs' Don Giovanni, and Cosi Fan Tutte... and I can't wit until he records The Magic Flute. Perhaps even more promising is the critical response to some of Jacob's recordings of Mozart's less-well-known operas, including Idomeneo and La clemenza di Tito... which are certainly as worthy as a good many of Gluck's or even Handel's operas... but have always been cursed by less-than-enthusiastic performances.

Sounds great. I'll have to look into that when I've exhausted the Naxos recordings. I quite like to see the performances as well though to get the whole picture, so I am currently borrowing or buying DVDs as much as I spare the time to do so. I’m just sticking with the “basics” at present the Mozart’s and Puccini’s etc, fabulous stuff.

Quote:

---

Originally Posted by stlukesguild

...I believe I paid about $10 US for the Ravel and $13 for he Debussy through secondary dealers on Amazon.com. That's less than many single discs go for. Considering the fact that these recordings are second to none (although Charles Dutoit's recordings are of equal merit) and include recordings with my own beloved Cleveland Orchestra (as well as the New York Philharmonic and the BBC Symphonu Orchestra... among other ensembles) I cannot recommend these highly enough for anyone interested:

---

:eek: Wow, at those prices, I think I'm going to go see about acquiring some Boulez recordings.

Quote:

---

Originally Posted by stlukesguild

Beside my Leopardi book arriving today the federal income tax return cam as well. It's something like Christmas in March.:banana: As a result I went a little nuts and bought a whole slew of music from secondary dealers on Amazon... including a goodly amount of Mozart...

---

Ah, Mozart! How can you go wrong? Reading about your recent Mozart opera purchases prompted me to go look at that section of my own music library where I made a shocking discovery! I apparently (I am not sure how!) have no recording of Don Giovanni! I guess I have enough excerpts from it on other opera CDs that I hadn't thought about it before. This, however, must be remedied immediately. I wondered if you, as musical reviewer extraordinaire and man possesser of what, given your pattern of acquisition, must be a truly impressive musical library, might have any thoughts as to which of the many DG recordings I should make my own. (Opinions from other erudite thread members also welcome).

Quote:

---

I am always left stunned by the final scene in which the Duke asks for and is given absolution for all his philandering. I am always reminded of Salieri's description of this scene in the film, Amadeus as God offering absolution to the whole world through this unstoppable, perfect music:

http://www.youtube.com/watch?v=xjQFYaCwOvM

It always sends chills up my spine.

---

That is a gorgeous passage. I agree. It gets you every time. Made me think of one of my favorite Mozart bass moments:

http://www.youtube.com/watch?v=K_IaJDqz2Zo

I apparently (I am not sure how!) have no recording of Don Giovanni! I guess I have enough excerpts from it on other opera CDs that I hadn't thought about it before. This, however, must be remedied immediately. I wondered if you, as musical reviewer extraordinaire and man possesser of what, given your pattern of acquisition, must be a truly impressive musical library, might have any thoughts as to which of the many DG recordings I should make my own.

I have heard several recordings of Don Giovanni or parts thereof. I am an Karajan fan... but not in this instance... not for Mozart. There are several more "historical" recordings of real merit. The Josef Krips performance with Cesare Siepe and Walter Berry is particularly worthy... and at less then $10 through a secondary dealer... a real steal. But it is also over 50 years old and perhaps not a first choice (although I'm looking into it).

http://farm3.static.flickr.com/2772/...9b3b3d71_o.jpg

Karl Böhm's recording is a good, solid first choice... a performance with the Vienna Phiharmonic, Sherill Milnes, Walter Berry, Peter Schreier, and Anna Tomowa-Sintow at the top of her game... and another grossly inexpensive choice at less than $13 from a secondary dealer. Of course DG (Deutsche Gramophon's) sound quality is second to none.

http://farm3.static.flickr.com/2798/...883a9a85_o.jpg

Perhaps THE first choice, however, among older recordings is Carlo Maria Giulini's rightfully famous recording with the Philharmonicia Chorus and Orchestra and masterful singers Eberhard Waechter, Joan Sutherland, Elisabeth Schwarzkopf, and Giuseppe Taddei. How could one go wrong with a young Sutherland and Elizabeth Schwarzkopf in her prime? This recording exists in several variations... and I am surprised it is not more gloriously packaged and promoted.

http://farm3.static.flickr.com/2733/...d6b716d8_o.jpg

http://farm5.static.flickr.com/4024/...a4674566_o.jpg

Among newer recordings there seem to be but two worthy competitors: John Eliot Gardiner and Rene Jacobs. Gardiner's is a muscular (as always) crisp and modern HIP version of the opera that stresses the drama.

http://farm5.static.flickr.com/4055/...10afea74_o.jpg

Let's face it... Gardiner may be one of the best living conductors... perhaps THE best. Certainly he has almost assumed the mantle of Karajan as the conductor who cannot be ignored... who is either loved or hated. Personally... I am on the "love" side of the spectrum... to the point that he may be my single favorite living conductor. His recent recordings of Bach's entire cantatas are magnificent...

http://farm5.static.flickr.com/4022/...ba21ec75_o.jpg

... as are his recordings of Monteverdi's Orfeo, Haydn's Creation, Schumann's symphonies, Beethoven's symphonies, and a number of Handel's operas.

In spite of having said as much, among recent recordings of Don Giovanni, I would go with Rene Jacobs' version. One of the reviews on Amazon puts it quite well:

"Rene Jacobs is making us re-think what we consider to be "Mozartian." Years ago, Maria Callas criticized the habit performers have of singing and playing Mozart as though they were on their "tip-toes." Finally, Rene Jacobs gives us a reading that does not beat-around-the-bush with the mannered "tip-toed" singing and playing we are used to. Like his other Mozart releases for the Harmonia Mundi label, this one is dramatic: sometimes tender, sometimes bombastic, sometimes hilarious, sometimes austere and horrifying, full of that 18th century "Sturm und Drang" that Mozart was famed for.

Indeed, Rene Jacobs has said that in a recording his singers "must act using only their voice." And this is what they do. The result is 3-CDs full of music where you will never find yourself skipping over any recitatives. His characters are fully developed and fully acted, with the instrumental ensemble (especially the often overlooked fortepiano continuo in the dry recitatives) providing the perfect support for the action. This is true musical drama the Jacobs gives us.

Much credit goes to Jacob's casting decisions. I cannot begin to express how impressed I am with Alexandrina Pendatchanska in the role of Donna Elvira. After hearing her hot-red-blooded Vitellia in La Clemenza di Tito, I thought she would be perfect for the vengeful Donna Elvira, and here she is. I am excited to finally hear an Elvira who truly sounds as though she is vacillating between loving remorse, and vengeful, murderous hatred for Don Giovanni."

There's something to the sound quality... not merely the use of historically appropriate instruments and singing style... but also the muscularity and the nearness of sound that makes this an incredibly intimate listening experience.

Of one note... Don Giovanni exists in two very different versions: one for Prague and the other for Vienna. Most recordings combine the two into a single work. Jacobs chose to go with the Viennese version... but recognizing that this would involve abandoning a couple of arias (and who wishes to abandon anything by Mozart?), he adds these as part of an appendix at the end of the opera.

http://farm3.static.flickr.com/2764/...30fe91e2_o.jpg

Haydn? Any fans? I've been using that Classical Music Book St. Luke recommended awhile ago, so I've been going in order of the Top 50 list. I've been listening to Haydn's music and I find him him kind of blah, especially compared to Mozart, Beethoven, and Bach. Anyone else feel this way? Anyone want to tell me I'm insane and why?