And not to get too melancholy, it's painful to consider the works that are currently BEING lost. Many libraries (in Italy, especially) have enormous numbers of manuscripts that have never been cataloged or studied, and they're crumbling to dust before anyone can get to them.
On the flip side, though, we're blessed to live in an age where recordings are everywhere.
__________________ The trick is in what one emphasizes. We either make ourselves miserable, or we make ourselves happy. The amount of work is the same. -- Carlos Castaneda
And not to get too melancholy, it's painful to consider the works that are currently BEING lost. Many libraries (in Italy, especially) have enormous numbers of manuscripts that have never been cataloged or studied, and they're crumbling to dust before anyone can get to them.
On the flip side, though, we're blessed to live in an age where recordings are everywhere.
Yes, and no. I'm a bit melancholy on this as I was just in the local Best Buy and Barnes and Noble, and their classical selection was not good at all, particularly at Best Buy. Not surprised mind you, just a bit perturbed that "The Most Relaxing Music Ever" and "Mozart for Baby" is what we're reduced to in the public eye. Barnes and Noble was a bit better, but a far cry from what they had (which was a decent sizeable collection). No operas now, few boxed sets (other than a couple of very high priced Beethoven symphony sets) and basically the Greatest Hits (even if they're not called that) of only the major composers.
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
Yes, and no. I'm a bit melancholy on this as I was just in the local Best Buy and Barnes and Noble, and their classical selection was not good at all, particularly at Best Buy. Not surprised mind you, just a bit perturbed that "The Most Relaxing Music Ever" and "Mozart for Baby" is what we're reduced to in the public eye. Barnes and Noble was a bit better, but a far cry from what they had (which was a decent sizeable collection). No operas now, few boxed sets (other than a couple of very high priced Beethoven symphony sets) and basically the Greatest Hits (even if they're not called that) of only the major composers.
I gave up shopping for CDs in stores. I used to be able to go to Barnes & Noble and spend a few hours browsing their selections. Not anymore. It's all very basic and probably dictated by whatever the computer says will sell based on previous sales. They used to have quite a decent selection of operas and just about every item in the NAXOS catalogue, which was great for finding unusual pieces. Now, I buy all my selections on-line from various sources and even then, some unusual things are hard to find or always back ordered.
__________________ In Fitness & Friendship, MAHLER
______________________________ __________________________ There is no light at the end of the tunnel. You carry the light with you.
I gave up shopping for CDs in stores. I used to be able to go to Barnes & Noble and spend a few hours browsing their selections. Not anymore. It's all very basic and probably dictated by whatever the computer says will sell based on previous sales. They used to have quite a decent selection of operas and just about every item in the NAXOS catalogue, which was great for finding unusual pieces. Now, I buy all my selections on-line from various sources and even then, some unusual things are hard to find or always back ordered.
True enough. I tend to use a mix of Amazon and its marketplace sellers, ArkivMusic, mdt.co.uk and jpc.de (the latter two for stuff that's only released in Europe, but it's not unusual for them to have lower prices than stateside merchants for some items.)
While the idea of buying downloads appeals to me, having a physical item (CD, DVD) in hand is rather moreso. If there were some way of downloading the cover art/liner notes, I'd be more likely to purchase the downloads. To date, I've only purchased one classical download - a recording of Beethoven's 9th Symphony that I was actually present for (in Philadelphia). I bought it to have a souvenir of the occasion, figuring that will most likely be the only way in which it would be obtainable. (And it goes without saying that it was in a lossless format - FLAC).
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
George Frideric Handel: Dixit Dominus, Salve Regina, Nisi Dominus
The Scholars Baroque Ensemble
This is another unearthed gem from my collection. Now, I realize that sacred Baroque music is a somewhat rarified taste, but I'd suggest seeking it out to get a feel for what I'm talking about. It's so exuberant, and on this disc, so well-performed it'd certainly be curmudgeonly of me to deny it the kudos it deserves.
The title work, Dixit Dominus is a setting of Psalm 109 ("The Lord said unto my Lord: Sit thou on my right hand, until I make thine enemies thy foot-stool") for soloists, chorus and orchestra. It also holds the distinction of being Handel's earliest surviving autograph - and proves to be an ambitious piece. Much like his greatest hit, Messiah, it is a series of choral pieces, solos and soloists with the chorus. The contrasts help keep interest through the piece (as though the luminous harmonies would not), as the solos are divided nearly equally between the voice parts. Though on this recording, the alto aria (Virgam virtutis) is very well sung by a counter-tenor. As for the music itself, fugal writing abounds, but each voice is clearly delineated within the texture by the Scholars Baroque. Of particular interest here is the Tu es sacerdos ("Thou are a priest forever") which is very nimbly negotiated and superbly sung. So to is De torrente in via bibet ("He shall drink of the brook in the way"), which comes just before the closing Gloria Patri. The other psalm setting (Nisi Dominus) and the shorter cantata Salve Regina round out the program and are well worth hearing in their own right.
As I've mentioned, the Scholars Baroque Ensemble really does justice to these works and I'll be looking forward to hearing them again.
Dixit Dominus: Basic Library (Repertoire and Performance)
Salve Regina: Worth Hearing (Repertoire), Basic Libary (Performance)
Nisi Dominus: Worth Hearing (Repertoire), Basic Libary (Performance)
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
Johann Sebastian Bach: Triple and Quadruple Concertos
Johann Sebastian Bach: Triple and Quadruple Concertos Antonio Vivaldi: Concerto in B minor for 4 violins, op. 3 RV 580
Christopher Hirons, John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock; violins
Christopher Hogwood, Davitt Moroney, Christophe Rousset, Colin Tilney; harpsichords
The Academy of Ancient Music
Christopher Hogwood
In honor of the anniversary of J.S. Bach's birthday, I've decided to put another disc of his works into this thread. Much like the Brandenburg Concerti, which features a group of soloists with orchestral backing, so too here. The difference here though is the solo instruments are all the same - that is, 3 harpsichords (or 4), or 3 violins (or 4) all very well accompanied by The Academy of Ancient Music under the direction of Christopher Hogwood. Unique to this disc though is an arrangement of BWV 1064 by Hogwood for 3 violins. It's interesting to hear the two versions - Bach's original for 3 harpsichords and Hogwood's arrangement for 3 violins. Hogwood's arrangement seems to feature more of the orchestra to fill in the texture that would otherwise be provided the harpsichords. No matter though as the soloists give some really great performances and I can't help but think there's at least some sort of one-upmanship going on.
Next is the C major concerto for 3 harpsichords (BWV 1064) as Bach wrote it. As good as Hogwood's arrangement is, Bach's original is that much more pleasing to me. A mixture of "Wow, I can't believe what I'm hearing" and "Whoa, that was cool" combined with some fun music making make this my favorite piece in the set, particularly the 3rd movement. This enjoyment carries over into the D minor concerto for 3 harpsichords (BWV 1063), which, despite the minor key, proves an energetic and upbeat work as well.
By way of contrast (and more likely than not to fill out the disc) Vivaldi's Concerto in B minor for 4 violins, RV 580 is included on the disc. A fine concerto in its own right, it provides a good contrast to the Bach works, and shows that this is a good thing too. Not as polyphonic as the Bach, the soloists tend to play in unison or solo, with some commentary from the other soloists. It makes a worthy companion with the works with which it is coupled.
Lastly, there's the A minor concerto for 4 harpsichords (yes, 4) BWV 1065, which is played with exuberance and flair. It's also a tribute to Bach's genius (and to the performers' skill) that it doesn't all collapse in on itself, which melodic lines clearly delineated within what could become a very murky texture. They're helped in this regard with period instruments, both for the soloists and the orchestra, which produce a thinner crisper sound than their more modern counterparts.
All in all, an excellent disc, featuring works not often heard in the concert hall. Then again, playing Bach's music is so difficult you have to be on your best game to make it onto the court. I find it pretty easy to enjoy just about ANY Bach recording, as his music stands up well to diverse interpretations, but this one is definitely a keeper.
Basic Library (Repertoire and Performance)
Notes:
BWV = Bach-Werke-Verzeichnis (or Bach Work Catalogue) - the number that follows it is the catalogue number from the official Bach catalogue.
RV = Ryom Verzeichnis (or Ryom Catalogue) - and performs the same function for Vivaldi's catalogue of works, named after Peter Ryom, the catalogue's creator.
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
Great selections, Tom
Handel is a particular favorite of mine. I am making the survey of the complete oratorios this year in honor of the 250th anniversary of his death.
And I like the Bach and Vivaldi selections. So often we hear only the concerti for single instruments and on occasion the double violin concerto by Bach. These gems are worth mining.
__________________ In Fitness & Friendship, MAHLER
______________________________ __________________________ There is no light at the end of the tunnel. You carry the light with you.
I agree - the concertos on the CD are every bit as sprightly and inventive as their more famous cousins, the Brandenburg Concertos, but you rarely hear them in the concert hall or on radio (nor do they sell nearly as many CDs). I may point some focus toward lesser known works of great composers, as well as great works of lesser known composers just to fill things out a bit.
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
Wolfgang Amadeus Mozart: Horn Concerti
Lowell Greer, natural horn
Philharmonia Baroque Orchestra
Nicholas McGegan
Here's a road less traveled through the works of Mozart - his horn concerti. While certainly of a much smaller scale than his piano concerti (a whole horn concerto is about the length of one movement of his piano concertos), there is much to be found to enjoy here. Mozart always strived to please the ear, regardless of what emotion he was trying to convey, and these pieces do not disappoint. The music is inventive, with some "ah ha!" moments, particularly in the rondos. This is sunny day music, with the horn aptly bringing to mind scenes of playing outside. (The hunt was never far from the mind of any 18th century composer when horns were used.)
Once again, period instruments feature here also, making the texture lighter and springier than it would be in their modern counterparts. Of particular interest is the horn which Dr. Greer uses. It is a replica which he (Dr. Greer) constructed based on specifications of classical period horns. The horn is valveless, so any pitch modifications must be done through the embouchure, which makes Greer's achievement as a performer all the more remarkable. The sound produced is more mellow than a modern French horn, and I quickly got used to it, finding modern renditions of the work a bit too hard-edged for my liking.
The scores themselves are all of a piece, a sonata form first movmeent, followed by a flowing andante for a middle, and a Rondo or Rondo Allegro for the last movement. Virtuosity for both the orchestra and soloists is evident throughout, and the pieces themselves all range from calming to ebullient. A good reminder that even lesser known Mozart is still awfully good.
As a side note, I had the pleasure of seeing Mr. McGegan conduct in Philadelphia (Handel's Messiah) - and he reminded me of a garden gnome hopping around on the podium, directing this large group of people. I can see him doing just the same here.
While you'll never find these works in any "Best of" compilation of Mozart's work, they are agreeable, amiable and undeniably a pleasure to listen to, so please do try them out.
Charles Gounod: Messe Solennelle de Sainte Cecile/Petite Symphonie
Charles Gounod: Messe Solennelle de Sainte Cecile/Petite Symphonie
Pilar Lorengar, soprano
Heinz Hoppe, tenor
Franz Crass, bass-baritone
Choers Rene Duclos
Orchestre de la Societe des Concerts du Conservatoire
Halle Orchestra
Jean-Claude Hartemann, conductor
Sir John Barbirolli, conductor
EMI/Angel Encore
When you've got a bonafide world-wide hit on your hands, how can your other music possibly measure up? Fortunately for us, Charles Gounod proves that his setting of Ave Maria is the apex of a considerable composing career, having had the inspiration later in life. Previous to that, he'd written the opera Faust (which is performed on a fairly regular basis), and this setting of the Catholic Mass. It marked a stylistic shift from his earlier attempt, which was an a cappella setting for male voices. We're treated here to full choir and orchestra, as well as soprano, tenor and bass soloists. Probably the most popular section is the Sanctus' tenor solo, but I've found other parts I liked immediately on first hearing - the oscillating Kyrie, the unsual dynamics of the Gloria (no, it doesn't leap for the heavens like Beethoven's Missa Solemnis - well not at first anyhow.) Gounod's lyricism serves him well throughout, not the least in the Agnus Dei toward the end of the Mass. I can truthfully say that I put this on not really knowing what to expect and ended up really enjoying the music. The recording is serviceable, though it is difficult to make out what the choir is singing at times, and lyrics/translations are not provided. The forces gathered though give an ardent performance, and the three soloists acquit themselves well. While some nitpickers might object to having German voices in a French penned Mass, I did not care a whit. Hartemann provides an inspired but not insipid reading which I quite enjoyed.
The programming on this disc is inventive - what do you put after a large scale Mass setting on a program? In this case, Gounod's Petite Symphonie for wind instruments provides an excellent contrast to the profound, religious work that precedes it (especially as the first movement of the Symphonie starts as an adagio). The music is by and large light-hearted and mischievous, and gives a chance for the Halle Orchestra's winds to shine. Sir John does an excellent job in keeping things moving along, but without rushing things.
In sum, an excellent disc - even if the recorded sound isn't the best.
Beethoven: Symphonies 5 & 7
Vienna Philharmonic
Carlos Klieber, conductor
Deutsche Grammphon SACD
What do you get when you put together one of the world's great orchestras with one of the world's great albeit reclusive conductors with a pair of the greatest works in the symphonic literature? The answer, thankfully, has been recorded on this wonderful SACD. Klieber takes us through both symphonies with a very sure hand, and Vienna Philharmonic responds beautifully. He strips off all the dross and varnish that has accumulated to the 5th over the years, infusing it with an energy that is unforced yet vital. The 7th fares equally well - those who remember the funereal music as used in Mr. Holland's Opus may be disappointed as Klieber takes it at Beethoven's indicated tempo (allegretto) rather than the slow tempo on the version used in the film.
There is much to delight the ear here, mine (on this listening) being drawn to the woodwinds, as they provide the needed character and contrast to bring the score alive. Also, I'm not sure if it's the orchestra, or the recording or both, but I heard details in this interpretation I've missed in others. That said, this mid 70's recording really blossoms with the SACD layer - as the sound expands the virtual concert hall in which they play.
Beethoven of course is a composer who, if you're into classical music, you really can't ignore. (You know you'll end up owning all nine symphonies and his other works as well.) And like any great composer he wrote music for which perfection in performance is impossible, but excellence is expected. You may find things you prefer in other performances of these works and vice versa, but as far as these readings go, they go a long way to fulfilling the promise of Beethoven's score.
I have a this recording of #5 and a couple others. This one is by far the best one.
__________________
"Only those who will risk going too far can possibly find out how far one can go." -- T.S. Eliot
"We are what we repeatedly do. Excellence, therefore, is not an act, but a habit."-- Aristotle
Time Warp DORSAY Ascent R. STRAUSS Introduction to Also Sprach Zarathustra (altered version) GOLDSMITH Star Trek: Main Theme COURAGE The Menagerie Suite (Star Trek TV Pilot) PHILLIPS Battlestar Galactica: Main Theme WILLIAMS Superman: Love Theme WILLIAMS Star Wars: Throne Room and End Title GOLDSMITH Alien: Closing Title J. STRAUSS, JR. On The Beautiful Blue Danube KHATCHATURIAN Gayne Ballet: Adagio STRAUSS Introduction to Also Sprach Zarathustra
Cincinnati Pops
Erich Kunzel, conductor
Telarc
And now for something a bit different... As a lover of symphonic film music, this is one disc that has stood out for me. Telarc has compiled pretty much a greatest hits of the space music/sci fi genre. Lots of memorable tunes abound... the main theme from the first Star Trek film, as well as a suite from The Menagerie - the pilot for the Star Trek TV series. And of course, no such compilation would be relevant if it didn't feature the work of John Williams, here represented by two very fine pieces (Love Theme from Superman and the Star Wars Throne Room and End Title). The surprises come from the selection of Phillips' Main Theme to Battlestar Galactica, and what I'll call the 2001 Suite - aka classical music repurposed as space music for the film suite. But fine music it is as well, with R. Strauss presented twice - the first time with an altered version interspliced with Dorsey's Ascent, and lastly in its original setting. The Blue Danube waltz needs no introduction, but the somber Adagio from Gayne may cause some heads to be scratched. (Notably, about the only piece not on this CD from the 2001 stable is Ligeti's Atmospheres, which Telarc may have felt would not be popular/tuneful enough to make the cut.) And yes, those eager for more of the same will be happy to note that Telarc has released a few more CDs (Time Warp II, Fantastic Journey I and II) with more of the same sort of music performed by the same forces.
The Cincinnati Pops play with verve and panache under the baton of Maestro Erich Kunzel (who sadly passed away last week). It's easy to hear why some consider him the heir to Arthur Fiedler whose tradition he carried on. The recorded sound is rich and vivid, true to Telarc's audiophile standards. So, if you're looking for a compilation of some great movie music well played and recorded you could do far worse than this (set of) CD(s).
Tom,
This is a great selection. I have had the CD in my collection for years. Your selection is a wonderful tribute to the late Eric Kunzel.
Thanks John - I was going to put in a bit about how the music reminds me a lot of English ceremonial music (ala Elgar and Walton) but I figured I'd talk about the music on its own merits.
__________________
Tom
No "happy hours" makes for a lot of miserable days. - Mahler
Linear Mode
