Classical Recommendations/Reviews

[walto]

Mike, I got that disc through gemm.com, I think, from a European seller--it's hard to find in the U.S. I really think you'd like it: Koller's a Tristanoite--almost (but not quite) a European Marsh, and Kovac gives that disc a bit of...of...uh.......Schnabel.


Sorry, I got a little distracted by your waitress. She sounds nice too.

[LeMo]

Maybe something for you, Walto.

There's a new version (the second, all together) of "Les Espaces acoustiques" from the great but late Gérard Grisey who's has been published by Kairos.

The first was on Accord (coll. "Una Corda") with Gérard Caussé on viola and two orchestras with two different conductors: Pierre-André Valade leading the Ensemble Court-Circuit and Sylvain Cambreling conducting the Frankfurter Museumorchester.

The new version feature Garth Knox on alto, and only one conductor for the two orchestras than they need to play this cycle, Stefan Asbury leading both, the Asko Ensemble and the Sinfonieorchester Köln (recorded in 2001 & 2002).

Even if the first version was great, this new one is even better because there's a greater unity and continuity by using only one conductor.

This second version is also more analytique (more "boulézienne", if you want) and it suits perfectly this music.

The only thing that I prefer from the first version (published in 2001 from recordings done in 1996, 97 & 98) is the "Prologue pour alto solo" where Gérard Caussé (who is the "dédicataire" of the work and who have recorded it twice) proposes a stronger performance than Knox.

"Les Espaces acoustiques" is the masterpiece of Gérard Gisey (the greatest living composer for me if he didn't... died height years ago at the age of 52) and a very specifique work where he equals the best pieces of Xenakis, Stockhausen or Ligeti.

It's a cycle who start by a solo for viola, "Prologue" (composed in 1976) followed by a piece called "Périodes" for seven musicians (1974), then by "Partiels" for 18 musicians (from 1975), "Modulations" for 33 musicians (1976/77), "Transitoires" for Symphonic orchestra (1980/81) and who ended with "Epilogue" for four French Horns and Symphonic Orchestra (1985).

I won't try to explain you in english what is all about in this magnificent music.
I'll just quote the composer (taking his speech from the "livret" of the first version):

"Everything began with "Périodes" for seven musicians, which was first performed at the Villa Médicis (in Rome). From a formal point of view, this piece consists of a succession of episodes, in the last of which I experimented for the first time with a technique that seemed to me in need of development I have, in fact, analysed, with a help of a spectogram's, the sound of the trombone's E, and created its main components (the fundamental and its harmonics) with the instruments of "Périodes" that open the way to a new harmonic thinking and to what I later called "instrumental synthésis." I had then to write a sequel, and this turn out to be partiel for 18 musicians which includes the instruments of "Périodes". Then I finally decided to composed a whole cycle that would begin with a piece for solo instrument and finish with a large orchestra (...)

It was in "Périodes" that I began to control different degrees of harmonic tension (harmoniousness/ inharmoniousness) and to impliment, on the rythmic level, oppositions between "périodic' and 'aperiodic'. It is also on "Périodes" that the general form of the cycle appears, a nearly respiratory form constructed auround a pole (the spectrum of E), starting from which, by moving more or less progressively further away, all the sound drifts proposed and organised - distance being perceived as a factor of tension and the return as a factor of relaxation.

Today "Les Espaces acoustiques" seems to me like a great laboratory in which the spectral techniques are applied to various situations (from solo to full orchestra). Certain pieces even have a demonstrative, almost didactic, aspect as if, in the euphoria of discovery, I had taken pains to make the characteristics of the language that I was gradually inventing be grasped as fully as possible.

My techniques obviously refined itself through the course of the cycle's composition, since I progressively integrated a non-tempered sound space, applied principles originating in electro-acoustic studios to instrumental writingn and finally specified the notion of process."

Gérard Grisey

Let me just had that the sound recording of the Kairos version (Kairos 00112422KAI) is absolutely astonishing.

[MRS]

1. Philip, your posts are works of art. Can someone kindly direct me to where I can find the Kairos? Danke.

2. Walt, I found the disc on gemm, thanks so much for the suggestion.

3. What's the general beef with Schnabel? Maybe his noted fucks-upping amidst the fury, I'm not sure. I'm obviously very much the neophyte in this sphere but I'm listening to that second portion of the Waldstein (again) and it is so moving. This past winter I was en route to a Black Dice show with two close friends from Kansas, waiting in the parking lot of a Walgreen's for one said friend to get sauce. Jeff played this bit of the Waldstein and I've been captivated ever since.

Schnabel did give us his son, Stefan, whose performance in Firefox is nothing short of stunning.

"You ought to celeblate weeth moh ap-lomb. . . . . . . .Vladeemeerov"

NP: Emil Gilel's Grieg lyric pieces, so strong and simple over and over again

[walto]

LeMo, thanx for that review, it definitely sounds right up my alley. As you know, I've very much liked the Grisey I've heard.

Mike, I think those who don't like Schnabel have complained about his sloppiness. I wonder if you've heard any of his compositions: he was pretty accomplished there too. Hope you like the Koller/Kovac. Let me know.

[LeMo]

Can someone kindly direct me to where I can find the Kairos? Danke.

The distributer of Kairos in the USA:

USA
Albany Music Distributors
Peter Kermani
915 Broadway, Albany, New York 11207
phone: +1 518 436 88 14 or +1 800 752 19 51
fax: +1 518 436 06 43
Prkalbany@aol.com

Thanks for the kind word, Michael.

[MRS]

To anyone interested. . .Herr Kermani advised me to order the Grisey here, which I just did: http://www.arkivmusic.com/classical/main.jsp

[al j]

ooh, many of my favorite posters lounging in a thread I hadn't known existed.

What are some favorite recordings each of you have been turned onto in this thread? I'm eager to buy some more classical and would love any recs that happen my way.

_______

on topic (I think), I've listened to this one a couple of time over the last few days and have enjoyed it immensely. I haven't heard of the composers before, and only know the record because it was given to me. It's on vinyl, and I don't know if it exists anywhere else, so if someone would like a burn, let me know!

Carmine Pepe - Sonata for Violin and Piano (1965)//Max Schubel - Zones (1972), on the Opus One label

The sonata is three movements, and here are a couple of Pepe's comments:

"The contrasting moods of the first movement are resolved [by the second, a dirge] and presented in a slow, restrained, lyrical setting. The piano, in the low register for practically the entire movement, plays a somber, plodding, rhythmically repetitious melody. The violin accompanies this mood with a succession of fragmented phrases that build into an expanded lyrical section which ends the movement.

... In the middle and last sections of [the last] movement the players accelarate the tempo, arriving at a point where they are relased from the bar line structure and 'let go'. There are unison phrases on the E and again a return to the accelerando. The violin has a solo cadenza, and a vigorous cadenza between the violin and piano end the work."


The piece on the whole is fabuloso and the third section is perfectly written/played, if I can say such a thing without otherwise knowing a damned thing about Pepe, or writing sonatas for that matter.

[Salvador Dali Lama]

pure poetry. any cortot fans here? i'm so blown away by this set. the surface noise and wrong notes dont bother me a bit. this is the most beautiful playing of some of the most beautiful music i've ever had the ecstatic joy to listen to...

i've recently gotten into some golden age pianists... between this box set and edwin fischer's wtc, theres not a heck of a lot else being played at casa de salvador these days...

[walto]

I just posted this on WAYLT, but I then noticed that the classical thread hadn't been moved, so I thought I'd use this fine disc (just sent by Douglas S.) to get that thread started again here....

Melodiya, 1990. SUCD 10-00107

E. DENISOV (b. 1929)

1. COLIN ET CHLOE
Suite from tbe opera "L'ecume des jours"
Libretto by E. Denisov afteг the nowel by В. Vian

1. The Street - 22.36 (1-7)
2. The Molitor Skating Rink
3. On the Way to Chloe
4. The Wedding
5. Соlin et Chloe
6. The Medical Quarter
7. Alice's Death
8. Epilogue - 7.40

Chloe - Nelli Lee, soprano
Alice - Nina Terentieva, mezz-sоргапо
Соlin - Nikolai Dumtsev, tenor

The Latvian SSR Acadeinic Chorus
Artistic director Imants Cepitis
The USSR Ministry of Culture Symphony Orchestra
Conductor Vasili Sinaisky

2. DEATH IS A LONG SLEEP
Variations on a Theme by J. Haydn - 12.35
Ivan Monighetti, cello
The Moscow Сhambег Orchestra
Condactor Pavel Kogan

3. CONCERTO FOR CELLO AND ORCHESTRA - 17.34
Carine Georgian
The Moscow Philharmonic Symphony Orchestra
Conductor Dmitri Kitaenko

Total time - 60.45

Recorded at the Grand Hall of the Moscow Conservatoire
October. 17. 1983 (1). October 19. 1982 (2) and 1979 (3)

[Salvador Dali Lama]

mkay, i guess the party is over here now. so, i've long eyed this chunk of music and a post by lazarus in the WAYLT thread has rekindled my interest. any other thoughts on this box?



here are two of my most recent obsessions:



absolutely amazing, who cares about a few wrong notes with feeling this strong. i've often been frustrated listening to chopin piano works because the interpreter rarely does the music justic. cortot on the other hand, brings out all the emotion and then some.



speechless.

[walto]

I have a different complete Messiaen organ set. (Can't remember who the organist is as I sit here.) Used to listen to it quite a bit. Lately, I really have to be in the mood, or I can't take more than a few minutes at a time. Something too declamatory for me about most of the pieces--or something like that.

[sonic1]

I cannot get enough of Messiaen's Organ Works. This is the one I have:




*****edit/correction: I also have the aformentioned one above I just realized.

Lately listening to primarily EAI and Classical music.

Too much to list really but some listings to give you an idea:

Darius Milhaud: Symphonies RSO Basel/Alun Francis
William Schuman: Quartets 2, 3, 5 (Lydian String Quartet, Harmonia Mundi)
Iver Hotler: String Quartet op. 1 and op. 18 (The Norwegian String QUartet, NKFCD)
Hindemith: Septett, Quintett, Oktett (Ensemble Villa Musica)
Charles Ives and Ernst Bacon: Songs (CRI American Masters)
Debussy: Preludes (Simerman/DG)
Bartók: Rhapsodies nos. 1 & 2 • Piano Quintet (Kodály Quartet, et al)
Stravinsky: œuvres pour piano (Béroff piano, Seiji Ozawa COnductor/Orchestre de Paris)
Andre Imbrie: Symphony no. 3 • Serenade • Sonata (Faberman/LSO)
Gian Francesco Malipiero: The 8 String Quartets (Orpheus String Quartet)
Berg: Violin Concerto (New York Philharmonic/Zubin Mehta)
Stravinsky: Violin Concerto in D (New York Philharmonic/Zubin Mehta)
Bartok: Concerto for Orchestra • Music for Strings, Percussion and Celesta • Hungarian Sketches (Reiner/CSO)
Nancarrow: Studies for Player Piano (5-CD box, Wergo)
Del Tredici: An Alice Symphony (Knussen, Tanglewood Music Center Orchestra CRI)
Takemitsu: Quotation of Dream (Knussen, London Sunfonietta)
Robert Parris Concerto for Trombone • Concerto for Percussion, Violin, Cello and Piano • Fantasy & Fugue for SOlo Cello • The Book of Imaginary Beings (CRI)
Shostakovich: The Golden Age (Rozhdestvensky/Royal Stockholm Philharmonic Orchestra)
Shostakovich: Symphonies nos. 9 and 15 (Ashkenazy/Royal Phil. Orch.)
Shostakovich: Symphonies nos. 1 & 2 (Haitink/LPO)
Turina: Piano Quartet op. 67 • Piano Quintet op. 1 • Piano Sextet, op. 7 (Menuhin Festival Piano Quartet)
Dutilleux: Symphonies nos. 1 and 2 (Tortelier/BBC Philharmonic)

[walto]

Interesting to see Ernst Bacon on your list, Jared. He was at S.U. and was, by all reports, a pretty unusual character. BTW, I'm listening to some French music myself today (Milhaud, Satie, Auric & Francaix--all conducted by Dorati).

[sonic1]

I am more explorative in my tastes in music than really one for "joining teams". You might be able to tell that from all my music posts. Even within the classical genres I tend to explore just about anything.

I am not sure what significance Mr. Bacon has, but it probably says nothing about me in particular.

[walto]

OK, then.

[Fred K]

The Messiaen organ set I have is from Jennifer Bate on Regis (originally on Unicorn). It seems like a nice set to me, although I don't like the works well enough to compare it to the Messiaen or Latry sets. I have to listen through the set again soon.

[MRS]

This took about a month and a half to arrive, but like Christmas mornin' with a brand new toy. . .I'm in love. Modern composed music generally takes time to germinate to my ears but this can't come recommended enough:



http://www.arkivmusic.com/classical/...lbum_id=102046

The opening fifteen minute viola piece is a monumental illustration of tension. Thanks for the suggestion Philip!

[MRS]

. . .from the prior thread:

Maybe something for you, Walto.

There's a new version (the second, all together) of "Les Espaces acoustiques" from the great but late Gérard Grisey who's has been published by Kairos.

The first was on Accord (coll. "Una Corda") with Gérard Caussé on viola and two orchestras with two different conductors: Pierre-André Valade leading the Ensemble Court-Circuit and Sylvain Cambreling conducting the Frankfurter Museumorchester.

The new version feature Garth Knox on alto, and only one conductor for the two orchestras than they need to play this cycle, Stefan Asbury leading both, the Asko Ensemble and the Sinfonieorchester Köln (recorded in 2001 & 2002).

Even if the first version was great, this new one is even better because there's a greater unity and continuity by using only one conductor.

This second version is also more analytique (more "boulézienne", if you want) and it suits perfectly this music.

The only thing that I prefer from the first version (published in 2001 from recordings done in 1996, 97 & 98) is the "Prologue pour alto solo" where Gérard Caussé (who is the "dédicataire" of the work and who have recorded it twice) proposes a stronger performance than Knox.

"Les Espaces acoustiques" is the masterpiece of Gérard Gisey (the greatest living composer for me if he didn't... died height years ago at the age of 52) and a very specifique work where he equals the best pieces of Xenakis, Stockhausen or Ligeti.

It's a cycle who start by a solo for viola, "Prologue" (composed in 1976) followed by a piece called "Périodes" for seven musicians (1974), then by "Partiels" for 18 musicians (from 1975), "Modulations" for 33 musicians (1976/77), "Transitoires" for Symphonic orchestra (1980/81) and who ended with "Epilogue" for four French Horns and Symphonic Orchestra (1985).

I won't try to explain you in english what is all about in this magnificent music.
I'll just quote the composer (taking his speech from the "livret" of the first version):

"Everything began with "Périodes" for seven musicians, which was first performed at the Villa Médicis (in Rome). From a formal point of view, this piece consists of a succession of episodes, in the last of which I experimented for the first time with a technique that seemed to me in need of development I have, in fact, analysed, with a help of a spectogram's, the sound of the trombone's E, and created its main components (the fundamental and its harmonics) with the instruments of "Périodes" that open the way to a new harmonic thinking and to what I later called "instrumental synthésis." I had then to write a sequel, and this turn out to be partiel for 18 musicians which includes the instruments of "Périodes". Then I finally decided to composed a whole cycle that would begin with a piece for solo instrument and finish with a large orchestra (...)

It was in "Périodes" that I began to control different degrees of harmonic tension (harmoniousness/ inharmoniousness) and to impliment, on the rythmic level, oppositions between "périodic' and 'aperiodic'. It is also on "Périodes" that the general form of the cycle appears, a nearly respiratory form constructed auround a pole (the spectrum of E), starting from which, by moving more or less progressively further away, all the sound drifts proposed and organised - distance being perceived as a factor of tension and the return as a factor of relaxation.

Today "Les Espaces acoustiques" seems to me like a great laboratory in which the spectral techniques are applied to various situations (from solo to full orchestra). Certain pieces even have a demonstrative, almost didactic, aspect as if, in the euphoria of discovery, I had taken pains to make the characteristics of the language that I was gradually inventing be grasped as fully as possible.

My techniques obviously refined itself through the course of the cycle's composition, since I progressively integrated a non-tempered sound space, applied principles originating in electro-acoustic studios to instrumental writingn and finally specified the notion of process."

Gérard Grisey

Let me just had that the sound recording of the Kairos version (Kairos 00112422KAI) is absolutely astonishing.

[LeMo]

Thanks for the suggestion Philip!

You're welcome. Glad you like it so much.
If so, Now that you have the masterpiece of Grisey you must get the absolute masterpiece of the same:

"Vortex Temporum - Talea" Ensemble recherche (Accord - Una Corda) (recorded in 1996).

The first is for sextet (flûte/ clarinette/ piano/ violin/ alto/ cello) (40' 28 long)

The second is for quintet (Flûte/ clarinet/ violin/cello/ piano) (16' 38 long)

"Vortex Temporum" is absolutely mesmerising.

[MRS]

--do you know where I can find Vortex? (Arkiv doesn't list it)

--is there an extant compact disc release either oop or not of that Schneiderhan quartet which has meant so much to me?

[LeMo]

--do you know where I can find Vortex? (Arkiv doesn't list it)

fnac.com

--is there an extant compact disc release either oop or not of that Schneiderhan quartet which has meant so much to me?

To my knowledge, no.
I've never see any others CD of the Schneideran.
Only the one you get copy of.
I think, anyway than, in their time, they have recorded for Deutsch Grammophone.
Will look for that.

[Other Steve]

For Walto, from the New York Times:

October 12, 2005
Music Review | Boston Symphony Orchestra

The Growing Impact of the Levine Era

By ANTHONY TOMMASINI
Perhaps sometime soon, music lovers and critics will tire of remarking on the thrilling revitalization James Levine has sparked as the music director of the Boston Symphony Orchestra. But not yet. It's still too momentous a story. Mr. Levine brought the orchestra to Carnegie Hall on Monday night for its first New York concert of the season. The orchestra sounds glorious, and the empowered players, who had grown demoralized under the long tenure of Seiji Ozawa, exude confidence and command.

The fascinating all-American 20th-century program opened with Ives's well-known "Three Places in New England." But the luminous and wondrously strange performance made this cutting-edge score seem new. Mr. Levine was less concerned with evoking the imagery that inspired each movement than with enticing the audience to hear Ives as a major modernist - an American eccentric, yes, but a savvy craftsman and a visionary composer. In the opening piece, "The 'St. Gaudens' in Boston Common," those thick, hazy, string chords shimmered with pungent polytonal dissonance and mystical allure. Ives seemed an American Berg. The string tone was so plush you wanted to wrap yourself in it. The "Putnam's Camp" movement, with its din of brass bands, and "The Housatonic at Stockbridge," with its multilayered harmonies and haunted evocations of church music in the distance, were also a revelation.

One revelation per concert is more than enough, but then came another: Lukas Foss's "Time Cycle" with the soprano Dawn Upshaw as soloist. In this 1960 score, a setting of four texts by Auden, Housman, Kafka and Nietzsche that explore themes of time, Mr. Foss masterly balances Neo-Classical elements of clarity and texture with explorations of atonality, techniques he was swept up in at that time. The music is all the more powerful for the impressive economy of Mr. Foss's language. Each word seems to evoke from the orchestra a specific gesture, riff, chord series or melodic fragment. The vocal writing boldly jumps about the soprano's register in anxious moments and lingers quizzically during reflection passages. Ms. Upshaw, whose voice sounded radiant and full, made the vocal writing seem natural, true to the words and keenly dramatic. Mr. Foss, pretty spry at 83, was on hand to take a bow.

Elliott Carter, who turns 97 in December, may be less spry than Mr. Foss, but he is still composing ingenious works. Mr. Levine conducted the New York premiere of "Three Illusions" (2004), short movements (three minutes each) that bustle with invention, instrumental colorings and Mr. Carter's distinctly complex and alluring astringent harmonic language. Something must have gone not quite right in the second piece, for Mr. Levine asked the audience if the orchestra could play it again, and it did, this time getting a big thumb's up from the maestro and a rousing ovation from the audience.

The program ended with Gershwin's Piano Concerto in F with the brilliant and stylish pianist Jean-Yves Thibaudet as soloist - a stunning performance alive with incisive rhythms, Ravelian colorings, telling intricacy and refreshingly cool restraint. In the context of this program, the work emerged not as some jazzy novelty but as a full-fledged modern American piano concerto. That was the idea, and it succeeded. As a programmer Mr. Levine seems to have no shortage of good ideas.

[walto]

Thanks very much, Steve. I was sorry when Tommasini left the Boston Globe for the big apple. I've always liked his stuff. I think his book on Thompson is excellent, too. Smart and comprehensive, but catty and fun too. I've never heard him play piano, but I understand he's no slouch in that department either. Have you hung out with him at all?


And there's no question but that Levine was just what the doctor ordered here--and he didn't come a minute too soon.

[Gentle Giant]

I have a disc (Levine, I believe) with selections from Smetana's Ma Vlast and The Bartered Bride. I'm very much taken with it, but am not otherwise familiar with the composer. Any recommendations?

[walto]

Those two works (warhorses) are pretty much all Smetana's known for.

[Gentle Giant]

To get in the mood for fasting (Yom Kippur starts tonight), I'm listening to Jacqueline Du Pre's recording of the Brahms Cello Sonatas, and Bruch's Kol Nidre ("All Vows"), the lovely prayer/song that opens the Day of Atonement worship services. Barenboim/Israel Philharmonic.

[walto]

How about some nice Bloch string quartet?

[Fred K]

The two string quartets by Smetana are very nice. The 1st quartet, "From My Life," is performed more frequently than the 2nd. If you're looking for another "Moldau" or Bartered Bride Overture you won't find it here, but these are pieces that I like a lot and listen to occasionally. I rarely take "Ma Vlast" off the shelf (although I have the same Levine version and like it fine). The version of the quartets I own is out of print so I don't have a recommendation for you. They should be easy to find though.


The perfomances of the first four Bloch quartets on this re-release from last year are excellent.

[Other Steve]

I've always liked his stuff. I think his book on Thompson is excellent, too. Smart and comprehensive, but catty and fun too. I've never heard him play piano, but I understand he's no slouch in that department either. Have you hung out with him at all?

I have not. Tony and I have met several times, but we don't really travel in the same circles. I think he's very good on a regular basis, and kind of painful more infrequently. But I do get the sense that there are many, many critical readers who don't care for him at all, and I remember a line in the introduction to The Virgil Thomson Reader in which the compiler of that book says that Tommasini's bio is fine, except that, unlike its subject, Tommasini doesn't have a sense of humor.

(For an intensely bitchy alternate view of Tony's style, go here...only maybe not in public or at the office.)

=====

I want to draw everyone's attention, and particularly Michael Schaumann's, to a new Alvin Lucier set just issued by New World. I've only listened to it once, but already I feel that it's utterly absorbing and definitely worth further investigation by anyone remotely interested in music largely concerned with overtones, drones and similar acoustic phenomena. Here's a complete run-down:



Alvin Lucier
Wind Shadows
The Barton Workshop
(New World 80628-2; 2 CDs)

Disc One:

1. In Memoriam Stuart Marshall (17:52)
for bass clarinet and pure wave oscillator

2. 40 Rooms (15:12)
for quintet and digital reverberation system

3. In Memoriam Jon Higgins (19:59)
for clarinet and slow sweep pure wave oscillator

4. Letters (6:00)
for clarinet, violin, cello and piano

Disc Two:

1. Q (15:20)
for quintet and pure wave oscillators

2-6. A Tribute to James Tenney (15:33)
for solo double bass and pure wave oscillators

7. Bar Lazy J (15:15)
for clarinet and trombone

8. Fideliotrio (12:03)
for viola, cello and piano

9. Wind Shadows (19:07)
for trombone and closely tuned oscillators

More details, including a PDF download of the complete liner notes, can be found here.

[MRS]

Done and done. What's the best place to order this online?

(sorry I have to keep asking that)