Happy Hispanic Heritage Month, my fellow Americans!


Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021.
http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908)
Francisco Mignone (1897-1986): Romanza for violin and piano (1917)
Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

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On Saturday, October 1, 2022 at 1:24:34 PM UTC-7, Oscar wrote:

Happy Hispanic Heritage Month, my fellow Americans!

Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021.
http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908) Francisco Mignone (1897-1986): Romanza for violin and piano (1917)
Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

Gracias, querido amigo Oscar, y de parte de mi pueblo chusma le mandamos un fuerte abrazo. :P

About to listen to Noseda's new LSO Tchaik 5. Aside from that, some of the things I've been listening to recently have been:

Stravinsky: The Rite of Spring (USSR Symphony Orchestra/Robert Craft) Shostakovich: Symphony No. 5 (Moscow Radio Symphony Orchestra/Vladimir Fedoseyev [1975 rec.])
Statius Muller: Antillean Dances (played by the composer himself)
Prokofiev: Symphony No. 7 (USSR All-Union Radio Symphony Orchestra/Nikolai Anosov)
Stravinsky: Symphony in C, Symphony in Three, etc. (BBC Philharmonic/Sir Andrew Davis)
Hollywood Soundscapes (Sinfonia of London/John Wilson)
Sibelius: Symphony No. 2/Tchaikovsky: Symphony No. 5 (LPO/Serge Koussevitzky) Schoenberg: Chamber Symphony No. 1/Webern: Symphony, Five Pieces, Op. 5 (Orch. de Chambre Lausanne/Heinz Holliger)

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On Sunday, 2 October 2022 at 07:40:30 UTC+11, Néstor Castiglione wrote:

On Saturday, October 1, 2022 at 1:24:34 PM UTC-7, Oscar wrote:

Happy Hispanic Heritage Month, my fellow Americans!

Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021. http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908) Francisco Mignone (1897-1986): Romanza for violin and piano (1917) Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

Gracias, querido amigo Oscar, y de parte de mi pueblo chusma le mandamos un fuerte abrazo. :P

About to listen to Noseda's new LSO Tchaik 5. Aside from that, some of the things I've been listening to recently have been:

Stravinsky: The Rite of Spring (USSR Symphony Orchestra/Robert Craft) Shostakovich: Symphony No. 5 (Moscow Radio Symphony Orchestra/Vladimir Fedoseyev [1975 rec.])
Statius Muller: Antillean Dances (played by the composer himself)
Prokofiev: Symphony No. 7 (USSR All-Union Radio Symphony Orchestra/Nikolai Anosov)
Stravinsky: Symphony in C, Symphony in Three, etc. (BBC Philharmonic/Sir Andrew Davis)
Hollywood Soundscapes (Sinfonia of London/John Wilson)
Sibelius: Symphony No. 2/Tchaikovsky: Symphony No. 5 (LPO/Serge Koussevitzky)
Schoenberg: Chamber Symphony No. 1/Webern: Symphony, Five Pieces, Op. 5 (Orch. de Chambre Lausanne/Heinz Holliger)

What label or air check is the Craft Stravinsky on? I know he did a tour of Russia with Stravinsky. In general I find the Craft Stravinsky series on Naxos very good but without any wow factor. I've juat added Ancerl's Rite and Petrouchka to my collection,
and snapping up all the Ancerl Golds in repertoire that interests, which is a lot. His Shosty 7 ia excellent, given the only fairly reasonable 1958 sound.

Ray Hall, Taree

--- SoupGate-Win32 v1.05
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On Saturday, October 1, 2022 at 1:40:30 PM UTC-7, Néstor Castiglione wrote:

On Saturday, October 1, 2022 at 1:24:34 PM UTC-7, Oscar wrote:

Happy Hispanic Heritage Month, my fellow Americans!

Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021. http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908) Francisco Mignone (1897-1986): Romanza for violin and piano (1917) Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

Gracias, querido amigo Oscar, y de parte de mi pueblo chusma le mandamos un fuerte abrazo. :P

About to listen to Noseda's new LSO Tchaik 5. Aside from that, some of the things I've been listening to recently have been:

Stravinsky: The Rite of Spring (USSR Symphony Orchestra/Robert Craft) Shostakovich: Symphony No. 5 (Moscow Radio Symphony Orchestra/Vladimir Fedoseyev [1975 rec.])
Statius Muller: Antillean Dances (played by the composer himself)
Prokofiev: Symphony No. 7 (USSR All-Union Radio Symphony Orchestra/Nikolai Anosov)
Stravinsky: Symphony in C, Symphony in Three, etc. (BBC Philharmonic/Sir Andrew Davis)
Hollywood Soundscapes (Sinfonia of London/John Wilson)
Sibelius: Symphony No. 2/Tchaikovsky: Symphony No. 5 (LPO/Serge Koussevitzky)
Schoenberg: Chamber Symphony No. 1/Webern: Symphony, Five Pieces, Op. 5 (Orch. de Chambre Lausanne/Heinz Holliger)

Music by Czech composer Kabelac Hamlet & Passacaglia w/Ancerl, Czech Philharmonic; Complete Symphonies w/Ivanovic w/Prague Radio Orchestra; all wonderful and colorful in a modern way.

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On Saturday, October 1, 2022 at 4:57:38 PM UTC-7, raymond....@gmail.com wrote:

On Sunday, 2 October 2022 at 07:40:30 UTC+11, Néstor Castiglione wrote:

On Saturday, October 1, 2022 at 1:24:34 PM UTC-7, Oscar wrote:

Happy Hispanic Heritage Month, my fellow Americans!

Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021. http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908) Francisco Mignone (1897-1986): Romanza for violin and piano (1917) Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

Gracias, querido amigo Oscar, y de parte de mi pueblo chusma le mandamos un fuerte abrazo. :P

About to listen to Noseda's new LSO Tchaik 5. Aside from that, some of the things I've been listening to recently have been:

Stravinsky: The Rite of Spring (USSR Symphony Orchestra/Robert Craft) Shostakovich: Symphony No. 5 (Moscow Radio Symphony Orchestra/Vladimir Fedoseyev [1975 rec.])
Statius Muller: Antillean Dances (played by the composer himself) Prokofiev: Symphony No. 7 (USSR All-Union Radio Symphony Orchestra/Nikolai Anosov)
Stravinsky: Symphony in C, Symphony in Three, etc. (BBC Philharmonic/Sir Andrew Davis)
Hollywood Soundscapes (Sinfonia of London/John Wilson)
Sibelius: Symphony No. 2/Tchaikovsky: Symphony No. 5 (LPO/Serge Koussevitzky)
Schoenberg: Chamber Symphony No. 1/Webern: Symphony, Five Pieces, Op. 5 (Orch. de Chambre Lausanne/Heinz Holliger)

What label or air check is the Craft Stravinsky on? I know he did a tour of Russia with Stravinsky. In general I find the Craft Stravinsky series on Naxos very good but without any wow factor. I've juat added Ancerl's Rite and Petrouchka to my

collection, and snapping up all the Ancerl Golds in repertoire that interests, which is a lot. His Shosty 7 ia excellent, given the only fairly reasonable 1958 sound.

Ray Hall, Taree

The Craft is on a Japan-only Triton CD (MECC-26025) issued in 1995, the first in a two-volume set covering all of the broadcasts of Stravinsky and Craft during their 1962 trip to the USSR. To my knowledge, this CD is the only time Craft's Soviet
performances have been available commercially on any format.

I like Craft's later performances on MusicMasters, Koch, and Naxos. They have a Gielen-like transparency and flow which I enjoy. His later Schoenberg and (almost complete) Webern cycles for Koch/Naxos are very dear to me. Likewise, his later Stravinsky
charm me with their grace and easy-going playfulness. That said, Craft as a young man also has his virtues. His recently reissued Webern (thank you, Sony!) is, for me, the only one that captures this music's expressive urgency, its manic intensity; a
quality missed by virtually every other conductor. I recall Lebrecht calling Webern the "mad scientist of music" in a column from 20 years ago or so. Most performances seem to corroborate his dismissal, so ill at ease and confused do they sound with
Webern's very distinctive and delicate idiom. Craft must've known or at least intuited that Webern, far from being the ivory tower figure portrayed by his detractors, was somebody profoundly concerned with his listening public and legitimately confused
as to why they refused to give his music a chance. There is in Craft's Columbia Webern a messianic zeal rarely heard in this music, imparting plenty of "wow" to those who love it too.

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On Sunday, 2 October 2022 at 12:30:48 UTC+11, Néstor Castiglione wrote:

On Saturday, October 1, 2022 at 4:57:38 PM UTC-7, raymond....gmail.com wrote:

On Sunday, 2 October 2022 at 07:40:30 UTC+11, Néstor Castiglione wrote:

On Saturday, October 1, 2022 at 1:24:34 PM UTC-7, Oscar wrote:

Happy Hispanic Heritage Month, my fellow Americans!

Treasures From The New World, Vol.2: Duos by Miguez and Oswald

Anthony Flint (vln)
Cléia Iruzun (pf, Steinway Model 'D')

SOMM Recordings SOMMCD 0632 ℗ © 2021. CD.
DDD.
Recorded at Potton Hall, Suffolk, June 15 & 16, 2019.
Recording producer: Siva Oke.
Recording engineer: Oscar Torres.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021. http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

NOTE: All composers on this Compact Digital Disc hail from Brazil. There is some enchanting music herein, especially insofar as Miguez's Sonata sweeping melodies locked into my skull as I listened.

Henrique Oswald (1852-1931): Violin Sonata in E major, Op.36 (1908) Francisco Mignone (1897-1986): Romanza for violin and piano (1917) Leopoldo Miguez (1850-1902): Violin Sonata in A major (1885)
Marlos Nobre (b.1939): Poema, Op.94 No.1 (2002)
Alexandre Levy (1864-92): Tango Brasiliero (arr. Souza Lima) (1890)

Gracias, querido amigo Oscar, y de parte de mi pueblo chusma le mandamos un fuerte abrazo. :P

About to listen to Noseda's new LSO Tchaik 5. Aside from that, some of the things I've been listening to recently have been:

Stravinsky: The Rite of Spring (USSR Symphony Orchestra/Robert Craft) Shostakovich: Symphony No. 5 (Moscow Radio Symphony Orchestra/Vladimir Fedoseyev [1975 rec.])
Statius Muller: Antillean Dances (played by the composer himself) Prokofiev: Symphony No. 7 (USSR All-Union Radio Symphony Orchestra/Nikolai Anosov)
Stravinsky: Symphony in C, Symphony in Three, etc. (BBC Philharmonic/Sir Andrew Davis)
Hollywood Soundscapes (Sinfonia of London/John Wilson)
Sibelius: Symphony No. 2/Tchaikovsky: Symphony No. 5 (LPO/Serge Koussevitzky)
Schoenberg: Chamber Symphony No. 1/Webern: Symphony, Five Pieces, Op. 5 (Orch. de Chambre Lausanne/Heinz Holliger)

What label or air check is the Craft Stravinsky on? I know he did a tour of Russia with Stravinsky. In general I find the Craft Stravinsky series on Naxos very good but without any wow factor. I've juat added Ancerl's Rite and Petrouchka to my

collection, and snapping up all the Ancerl Golds in repertoire that interests, which is a lot. His Shosty 7 ia excellent, given the only fairly reasonable 1958 sound.

Ray Hall, Taree

The Craft is on a Japan-only Triton CD (MECC-26025) issued in 1995, the first in a two-volume set covering all of the broadcasts of Stravinsky and Craft during their 1962 trip to the USSR. To my knowledge, this CD is the only time Craft's Soviet

performances have been available commercially on any format.

I like Craft's later performances on MusicMasters, Koch, and Naxos. They have a Gielen-like transparency and flow which I enjoy. His later Schoenberg and (almost complete) Webern cycles for Koch/Naxos are very dear to me. Likewise, his later Stravinsky

charm me with their grace and easy-going playfulness. That said, Craft as a young man also has his virtues. His recently reissued Webern (thank you, Sony!) is, for me, the only one that captures this music's expressive urgency, its manic intensity; a
quality missed by virtually every other conductor. I recall Lebrecht calling Webern the "mad scientist of music" in a column from 20 years ago or so. Most performances seem to corroborate his dismissal, so ill at ease and confused do they sound with
Webern's very distinctive and delicate idiom. Craft must've known or at least intuited that Webern, far from being the ivory tower figure portrayed by his detractors, was somebody profoundly concerned with his listening public and legitimately confused
as to why they refused to give his music a chance. There is in Craft's Columbia Webern a messianic zeal rarely heard in this music, imparting plenty of "wow" to those who love it too.

Many thanks. I will definitely check out the Craft Webern. I was thinking about the Boulez Webern, but will change plans a tad when I decide to commit to getting Webern, as Boulez typically can be a mite cool. Am quietly collecting all of Janacek's
operas at the moment, and am awaiting Adventures of Mr Broucek, with only the Makropulos Case to search for.

Ray Hall, Taree

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I really like the historical adventure with the Hussites. Funny and great use of music to connect to the period. The sci-fi-ish one didn't work as well for me. I haven't heard Makropoulos in ages, didn't warm to it back then. Maybe it would be
different now. I can understand burrowing into Janacek's operas in general, though.

Many thanks. I will definitely check out the Craft Webern. I was thinking about the Boulez Webern, but will change plans a tad when I decide to commit to getting Webern, as Boulez typically can be a mite cool. Am quietly collecting all of Janacek's

operas at the moment, and am awaiting Adventures of Mr Broucek, with only the Makropulos Case to search for.

Ray Hall, Taree

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On Saturday, October 1, 2022 at 4:44:47 PM, 347chalm . . . wrote:

Music by Czech composer Kabelac Hamlet & Passacaglia w/Ancerl, Czech Philharmonic; Complete Symphonies
w/Ivanovic w/Prague Radio Orchestra; all wonderful and colorful in a modern way.

Miloslav Kabeláč (1908-1979) was a very fine composer. I have derived great enjoyment from all I have heard by him.

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On Sunday, 2 October 2022 at 07:40:30 UTC+11, Néstor Castiglione wrote:

I like Craft's later performances on MusicMasters, Koch, and Naxos. They have a Gielen-like transparency and flow which I enjoy. His later Schoenberg and (almost complete) Webern cycles for Koch/Naxos are very dear to me. Likewise, his later Stravinsky

charm me with their grace and easy-going playfulness. That said, Craft as a young man also has his virtues. His recently reissued Webern (thank you, Sony!) is, for me, the only one that captures this music's expressive urgency, its manic intensity; a
quality missed by virtually every other conductor.

snip > There is in Craft's Columbia Webern a messianic zeal rarely heard in this music, imparting plenty of "wow" to those who love it too.

About a month ago i happened to snag a copy of that Sony /Webern /Craft reissue. Looking forward to hearing it!

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Some Sunday afternoon comfort music, again, from one of my favorite labels, SOMM Recordings out of Surrey, England.

Romantic Violin Sonatas

The Carlock-Combet Duo
Guillaume Combat (vln)
Sandra Carlock (pf)

SOMM Recordings SOMMCD 0628 ℗ © 2021. CD.
DDD.
Recorded at The Menuhin Hall, Stoke d'Abernon, January 11 & 12, 2020. Recording producer: Siva Oke.
Recording engineer: Paul Arden-Taylor.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2021.
http://www.somm-recordings.com
© & ℗ SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

COMMENT: The Duo's primary strength lay in its sympathies to whole-hearted lyricism. As such, the most effective rendition of of the 3 Sontas on offer herein is the youthful, exuberant Schubert. Ms. Carlock sadly passed from cancer in 2021, aged .
Oklahoma-born Carlock was a champion of the music of American composer Edward MacDowell. This was only the second Carlock-Combet Duo CD. I would have welcomed the opportunity to hear more from them. Combet's intonation is perfect throughout all three
works, and the affinity between violinist and pianist is a wonder to hear.

-Schumann: Violin Sonata No.2 in D minor, Op.121
-Schubert: Violin Sonata in A major, D.574
-Grieg: Violin Sonata No.3 in C minor, Op.45


From Philadelphia Inquirer:

<< OBITUARIES
Sandra Lynn Carlock, renowned pianist, master music teacher, and photographer, dies at 76

By Gary Miles
October 12, 2021

Sandra Lynn Carlock, 76, of Huntingdon Valley, a renowned pianist, recording artist, master music teacher, lecturer, and photographer, died Wednesday, Sept. 8, of glioblastoma at Rydal Park retirement community.

A child prodigy on the piano, Ms. Carlock recorded several albums, performed and lectured around the United States, Europe, and elsewhere, played in chamber music ensembles, and, since 2014, partnered with the French violinist Guillaume Combet to form
the Carlock-Combet Duo.

She was an Arthur Judson Distinguished Faculty Chair at Settlement Music School and taught piano and chamber music there for more than 50 years. She won Settlement’s 1989 Sol Schoenbach Award for outstanding service to the school and the Steinway &
Sons’ annual top teacher award in 2016 and 2018.

“The devotion and commitment she had for her students, their families, and Settlement was deeply inspiring,” Helen Eaton, Settlement’s chief executive officer, said in a tribute. School officials also praised Ms. Carlock for her “undeniably
strong work ethic and dedicated mentorship.”

Her recordings and performances received much critical acclaim, and MusicWeb International said that the Carlock-Combet Duo displayed “imaginative and intelligent programming performed with style, panache and polish.”

The French music magazine Classica praised the duo’s most recent album, Romantic Violin Sonatas, and noted its “constant insights from beginning to end” with “perfect technique, fidelity to the music, impeccable articulation.”

Ms. Carlock had also embraced photography recently, and her images are featured on the covers of two of her albums. She specialized in landscapes, cityscapes, architecture, and portraits.

Born Nov. 5, 1944, Ms. Carlock was raised in McAlester, Okla. Her mother, Ruth, was a musician and piano teacher, and Ms. Carlock shocked her one day when, at 3, she sat down and played pieces she had heard much older pupils play.

“I can’t ever remember a time when I couldn’t play the piano,” Ms. Carlock told interviewer Malcolm Stewart. “So that actually makes it something that is so integral to who I am. I think that’s quite wonderful in a way.”

As a youngster in Oklahoma, Ms. Carlock also liked to climb trees, be around animals, and read. She skipped the seventh grade, graduated from high school at 16, and earned a bachelor’s degree in music at the Oberlin Conservatory of Music.

She received a master’s degree in music from the State University of New York at Stony Brook and did postgraduate studies at the Juilliard School. She moved to Philadelphia, she told The Inquirer in 1997, to be close to New York and take advantage of
Philadelphia’s “lively musical life of its own.” She lived in Melrose Park and Perkasie before moving to Huntingdon Valley.

Ms. Carlock said Clara Schumann, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Frédéric Chopin, and Johannes Brahms were among her favorite composers. Performing, she told The Inquirer in a 1989 article, can be stressful. “It is taking a part of
yourself and putting it on display,” she said.

Her sister, Ruth Ann, said Ms. Carlock “was a good big sister and always extremely serious about the piano.”

Kathleen Krull, Settlement’s Willow Grove branch director, said in a tribute that Ms. Carlock was an effective teacher because she had “the perfect combination of warmth, high expectations, humor, and love of music and people.”

Her brother, Ken, said Ms. Carlock “cared about her students to the nth degree.”

One former student called her “a force of life” and said in a tribute, “I already really miss her.”

In addition to her sister and brother, Ms. Carlock is survived by former husband Lee Snyder and other relatives. Her second husband, Kurt Sotmon, died earlier.

A memorial concert is to be held at 1:30 p.m. Sunday, Nov. 28, in Perelman Hall at the Kimmel Cultural Campus, 300 S. Broad St., Philadelphia, Pa. 19102. >>

https://www.inquirer.com/obituaries/sandra-carlock-obituary-settlement-piano-20211008.html

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Brand new on DG - Krystian Zimerman playing Szymanowski.

The small bit I heard so far sounds outstanding, as would be expected.

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On Tuesday, October 4, 2022 at 8:35:24 AM, JohnGavin wrote:

Brand new on DG - Krystian Zimerman playing Szymanowski.

The small bit I heard so far sounds outstanding, as would be expected.

Bought the SHM-CD from Japan for greatest carbon footprint (also the Tidal MQA value-added). Awaiting delivery! Can't wait. His Bacewicz CD from 10+ years ago was similarly outstanding. Hard to believe it's taken him 50 years to record this repertoire.

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Op 2022-10-01 om 22:24 schreef Oscar:


Celloconcertos by Haydn, Vivaldi, Platti, Boccherini and Graziani.
With Edgar Moreau and Il Pomo d'Oro conducted by Riccardo Minasi, on Erato.

A splendid disc, with a very nice repertoire and with performers Il Pomo
d'Oro and Minasi on the same level as in their recordings of works by
Vivaldi in the still going 'Vivaldi edition' on naïve.
And a splendid recording.

https://www.prestomusic.com/classical/products/8077053--giovincello-baroque-concerti
https://www.amazon.com/Giovincello-Baroque-Concerti-Edgar-Moreau/dp/B013CX0V1O/

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For something a little different....

https://tyciterman.bandcamp.com/album/bop-kabbalah-voices-the-yiddish-song-cycle-live-2

I suppose the group name, Bop Kabbalah+Voices, is indicative enough....

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Does anyone else think that Platti was a pretty significant composer? He straddles Baroque/Galant/Classical world, and his music is inventive as well as forward-looking.

On Friday, October 7, 2022 at 8:20:49 AM UTC-7, Gerard wrote:

Op 2022-10-01 om 22:24 schreef Oscar:

Celloconcertos by Haydn, Vivaldi, Platti, Boccherini and Graziani.
With Edgar Moreau and Il Pomo d'Oro conducted by Riccardo Minasi, on Erato.

A splendid disc, with a very nice repertoire and with performers Il Pomo d'Oro and Minasi on the same level as in their recordings of works by Vivaldi in the still going 'Vivaldi edition' on naïve.
And a splendid recording.

https://www.prestomusic.com/classical/products/8077053--giovincello-baroque-concerti
https://www.amazon.com/Giovincello-Baroque-Concerti-Edgar-Moreau/dp/B013CX0V1O/

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Op 2022-10-08 om 04:35 schreef Peter:

Does anyone else think that Platti was a pretty significant composer? He straddles Baroque/Galant/Classical world, and his music is inventive as well as forward-looking.

I don't know anything else by Platti. On this disk the concerto by
Platti was the surprise to me. Almost "the icing on the cake".

On Friday, October 7, 2022 at 8:20:49 AM UTC-7, Gerard wrote:

Op 2022-10-01 om 22:24 schreef Oscar:


Celloconcertos by Haydn, Vivaldi, Platti, Boccherini and Graziani.
With Edgar Moreau and Il Pomo d'Oro conducted by Riccardo Minasi, on Erato. >>
A splendid disc, with a very nice repertoire and with performers Il Pomo
d'Oro and Minasi on the same level as in their recordings of works by
Vivaldi in the still going 'Vivaldi edition' on naïve.
And a splendid recording.

https://www.prestomusic.com/classical/products/8077053--giovincello-baroque-concerti
https://www.amazon.com/Giovincello-Baroque-Concerti-Edgar-Moreau/dp/B013CX0V1O/

--- SoupGate-Win32 v1.05
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In article <thrb7b$cmf$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In that direction, I've been credited on an album from these guys: >https://www.foreignfire.com/

https://www.davidisraelkatz.com/

--- SoupGate-Win32 v1.05
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In article <thpt3b$uqq$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

I suppose the group name, Bop Kabbalah+Voices, is indicative enough....

In that direction, I've been credited on an album from these guys:

https://www.foreignfire.com/

--- SoupGate-Win32 v1.05
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In article <thrbel$d01$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In article <thrb7b$cmf$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In that direction, I've been credited on an album from these guys: >>https://www.foreignfire.com/

https://www.davidisraelkatz.com/

One of my favorite recordings from last year:

https://eliwallace.bandcamp.com/album/precepts

(instrumental, challenging)

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On 10/7/22 9:35 PM, Peter wrote:

Does anyone else think that Platti was a pretty significant composer?
He straddles Baroque/Galant/Classical world, and his music is
inventive as well as forward-looking.

He gets mentioned as a possible fortepiano early adopter and as an early composer of keyboard concertos. There are recordings on a variety of instruments.

I'm enjoying the "Late Keyboard Sonatas" album by Luca Guglielmi on spotify.

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On Saturday, October 8, 2022 at 10:00:37 AM UTC-4, MINe109 wrote:

On 10/7/22 9:35 PM, Peter wrote:

Does anyone else think that Platti was a pretty significant composer?
He straddles Baroque/Galant/Classical world, and his music is
inventive as well as forward-looking.

He gets mentioned as a possible fortepiano early adopter and as an early composer of keyboard concertos. There are recordings on a variety of instruments.

I'm enjoying the "Late Keyboard Sonatas" album by Luca Guglielmi on spotify.

Handel - 16 concertos for Organ and Orchestra.
Biggs / Boult

Highly enjoyable. Even though I’ve been an E. Power Biggs fan forever, I’ve never gotten around to these.
Many will consider this dated. Not me.

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On Friday, October 14, 2022 at 11:15:53 PM, Oscar wrote:

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style.

Historically-informed performance practice. Whatever!

--- SoupGate-Win32 v1.05
* Origin: fsxNet Usenet Gateway (21:1/5)

Now playing:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944

B'Rock Orchestra / René Jacobs

Pentatone PTC 5186 894 ℗ © 2022. CD.
Recorded at De Singel, Antwerp, Belgium, December 2020.

Recording producer, balance engineer and editor: Erdo Groot, Polyhymnia International (yes, _that_ ERDO GROOT, from Philips!).
Recording engineer: Carl Schuurbiers.
Executive producer: Renaud Loranger.
A&R manager: Kate Rockett.

Booklet note: René Jacobs (34 pps. in English!!).
English translation: Calvin B. Cooper.
Cover design: Lucia Ghielmi.
Product management and design: Kasper van Kooten.

Pentatone
Vice President A&R: Renaud Loranger.
Managing director: Sean Hickey.
A&R manager: Kate Rockett.
Head of product, catalog and curation: Kasper van Kooten.
Head of marketing, P.R. and sales: Silvia Pietrosanti.

Total playing time: 87'47" (!!).

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style. Tempos are not drastic, but the revealing and transparent textures will surely trigger Hurwitz. I like 'em. These are reference
recordings for H.I.P.P. Schubert. Buy this. CD.

P.S. The first disc in this now-completed integrale, released in 2018, was issued as a hybrid SACD. Subsequent volumes have been issued as redbook CD only. A pity. All releases are packaged in the now-standard-for-Pentatone 'eco-friendly' digipak with
booklets glued to the cardboard. I don't like it!

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Op 2022-10-15 om 08:17 schreef Oscar:

On Friday, October 14, 2022 at 11:15:53 PM, Oscar wrote:

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style.

Historically-informed performance practice. Whatever!

Hurwitz Instantly Panned it.

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On 10/15/2022 6:15 AM, Gerard wrote:

Op 2022-10-15 om 08:17 schreef Oscar:

On Friday, October 14, 2022 at 11:15:53 PM, Oscar wrote:

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style.

Historically-informed performance practice. Whatever!

Hurwitz Instantly Panned it.

It wasn't instant. I'm not saying he didn't approach this with bias, but he clearly took considerable time listening and describing what he heard. It would be interesting to hear you (if you agree with Oscar) and Oscar comment on Hurwitz's review in a
meaningful way.

--- SoupGate-Win32 v1.05
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On Friday, October 14, 2022 at 11:15:53 PM UTC-7, Oscar wrote:

Now playing:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944

B'Rock Orchestra / René Jacobs

Pentatone PTC 5186 894 ℗ © 2022. CD.
Recorded at De Singel, Antwerp, Belgium, December 2020.

Recording producer, balance engineer and editor: Erdo Groot, Polyhymnia International (yes, _that_ ERDO GROOT, from Philips!).
Recording engineer: Carl Schuurbiers.
Executive producer: Renaud Loranger.
A&R manager: Kate Rockett.

Booklet note: René Jacobs (34 pps. in English!!).
English translation: Calvin B. Cooper.
Cover design: Lucia Ghielmi.
Product management and design: Kasper van Kooten.

Pentatone
Vice President A&R: Renaud Loranger.
Managing director: Sean Hickey.
A&R manager: Kate Rockett.
Head of product, catalog and curation: Kasper van Kooten.
Head of marketing, P.R. and sales: Silvia Pietrosanti.

Total playing time: 87'47" (!!).

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style. Tempos are not drastic, but the revealing and transparent textures will surely trigger Hurwitz. I like 'em. These are reference

recordings for H.I.P.P. Schubert. Buy this. CD.

P.S. The first disc in this now-completed integrale, released in 2018, was issued as a hybrid SACD. Subsequent volumes have been issued as redbook CD only. A pity. All releases are packaged in the now-standard-for-Pentatone 'eco-friendly' digipak with

booklets glued to the cardboard. I don't like it!


When did they go "eco-friendly?" What a shame. Switching to digipaks and the like is just lazy performative activism for record labels that implicitly subverts their stated intentions. Presumably anybody who buys a CD these days does so because they
prefer the satisfaction of owning something tangible, rather than downloading or streaming it. "Eco-friendly" digipaks, instead, reinforce the notion that CDs are so much disposable e-waste that ought to be added to the "Great Pacific Garbage Patch." If
these labels care that much about the environment as they claim, wouldn't they just go full-on digital? And if they really cared, would they then also consider internet usage's massive drain on resources, particularly water?

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On Saturday, October 15, 2022 at 2:13:03 PM, Frank Berger wrote:

It wasn't instant. I'm not saying he didn't approach this with bias, but he clearly took considerable time listening and describing
what he heard. It would be interesting to hear you (if you agree with Oscar) and Oscar comment on Hurwitz's review in a meaningful way.

First, it was not a review posted to ClassicsToday-dot-com. It was a video review on YT, and the click-bait headline is . . . René Jacobs' Vile, Inane, Disgraceful Schubert.

Say no more? I think so.

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Giacomo Manzoni - Masse: Omaggio a Edgard Varese -
Sinopoli /Berlin /Pollini on DG, paired with Schoenberg Chamber Sym
i think this is the only work of Manzoni that I've heard
Liked it though -- some good old-fashioned modernism here

Mohammed Fairouz - Native Informant on Naxos
Okay but didn't grab me on first hearing
I'll likely play both again before they exit the changer...

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In article <9343da85-9d1f-4df3-889d-ad9a712c5fd8n@googlegroups.com>,
Oscar <oscaredwardwilliamson@gmail.com> wrote:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944
B'Rock Orchestra / René Jacobs

I was thinking about listening to this, then unsure if the "controversy" dissuaded me, but anyway....

Strong first impression. I enjoy the basic sound/timbres & the way
the phrases are articulated.

P.S. The first disc in this now-completed integrale, released in
2018, was issued as a hybrid SACD. Subsequent volumes have been
issued as redbook CD only. A pity.

Well, the downloads suffer no such limitations.... Pentatone is,
after all, one of the leaders in HD recording.

I particularly find myself listening to the bass on this recording --
almost as if it's a jazz record: Full, round, strong but mellow....
Listen to how the horns respond to the bass.

(I haven't read the liner notes, so I don't know if there are remarks
on this aspect.)

--- SoupGate-Win32 v1.05
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On Saturday, October 15, 2022 at 5:15:53 PM UTC+11, Oscar wrote:

Now playing:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944

B'Rock Orchestra / René Jacobs

Pentatone PTC 5186 894 ℗ © 2022. CD.
Recorded at De Singel, Antwerp, Belgium, December 2020.

Recording producer, balance engineer and editor: Erdo Groot, Polyhymnia International (yes, _that_ ERDO GROOT, from Philips!).
Recording engineer: Carl Schuurbiers.
Executive producer: Renaud Loranger.
A&R manager: Kate Rockett.

Booklet note: René Jacobs (34 pps. in English!!).
English translation: Calvin B. Cooper.
Cover design: Lucia Ghielmi.
Product management and design: Kasper van Kooten.

Pentatone
Vice President A&R: Renaud Loranger.
Managing director: Sean Hickey.
A&R manager: Kate Rockett.
Head of product, catalog and curation: Kasper van Kooten.
Head of marketing, P.R. and sales: Silvia Pietrosanti.

Total playing time: 87'47" (!!).

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style. Tempos are not drastic, but the revealing and transparent textures will surely trigger Hurwitz. I like 'em. These are reference

recordings for H.I.P.P. Schubert. Buy this. CD.

P.S. The first disc in this now-completed integrale, released in 2018, was issued as a hybrid SACD. Subsequent volumes have been issued as redbook CD only. A pity. All releases are packaged in the now-standard-for-Pentatone 'eco-friendly' digipak with

booklets glued to the cardboard. I don't like it!

It has already triggered Big D in no uncertain fashion! So of course I immediately bought it ...

Am currently enjoying Swan Lake streaming from the Royal Opera House ...

--- SoupGate-Win32 v1.05
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Op 2022-10-17 om 04:30 schreef Andrew Clarke:

On Saturday, October 15, 2022 at 5:15:53 PM UTC+11, Oscar wrote:

Now playing:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944

B'Rock Orchestra / René Jacobs

Pentatone PTC 5186 894 ℗ © 2022. CD.
Recorded at De Singel, Antwerp, Belgium, December 2020.

Recording producer, balance engineer and editor: Erdo Groot, Polyhymnia International (yes, _that_ ERDO GROOT, from Philips!).
Recording engineer: Carl Schuurbiers.
Executive producer: Renaud Loranger.
A&R manager: Kate Rockett.

Booklet note: René Jacobs (34 pps. in English!!).
English translation: Calvin B. Cooper.
Cover design: Lucia Ghielmi.
Product management and design: Kasper van Kooten.

Pentatone
Vice President A&R: Renaud Loranger.
Managing director: Sean Hickey.
A&R manager: Kate Rockett.
Head of product, catalog and curation: Kasper van Kooten.
Head of marketing, P.R. and sales: Silvia Pietrosanti.

Total playing time: 87'47" (!!).

COMMENT: These are very fine recordings within the parameters of the historically-informed period performance style. Tempos are not drastic, but the revealing and transparent textures will surely trigger Hurwitz. I like 'em. These are reference

recordings for H.I.P.P. Schubert. Buy this. CD.

P.S. The first disc in this now-completed integrale, released in 2018, was issued as a hybrid SACD. Subsequent volumes have been issued as redbook CD only. A pity. All releases are packaged in the now-standard-for-Pentatone 'eco-friendly' digipak with

booklets glued to the cardboard. I don't like it!

It has already triggered Big D in no uncertain fashion! So of course I immediately bought it ...

I'm curious to know what you think about it.
It becomes more and more clear that Big D's aversions actually are recommendations ;-) Specially since he names himself "The ULTIMATE
Classical Music Guide".

--- SoupGate-Win32 v1.05
* Origin: fsxNet Usenet Gateway (21:1/5)

Now playing:

Beethoven: String Quartet No.10 in E-flat major, Op.74 'Harp'
From Beethoven String Quartets: The 1964-70 Recordings [disc no.6]

Juilliard String Quartet

Sony Classical 19075992332 ℗ © 2020. 9CD boxed set.
Stereo.
Recorded at Columbia 30th Street Studios, New York City, January 5 & 6, 1965. Producer: Richard Killough.
Matrix nos.XEM 110093 (mono); XSB 110099 (stereo).
LP matrix nos. BL 34097.
Orig. issued on LP on July 26, 1965.

Produced by Robert Russ.
Booklet editor: Jochen Rudelt, texthouse.
Design: [ec:ko communications].
Booklet note: Tully Potter.
Tape research: Matt Fiveash.
Analogue tape transfers by Brett Zinn, Iron Mountain Digital Services. Mastering by Martin Kistner, b-sharp music and media solutions, using 24-bit/192-kHz technology.

This compilation ℗ & © 2020 Sony Music Entertainment.
Distributed by Sony Music Entertainment.
https://www.sonyclassical.com

NOTE: String Quartets Nos.7-10 were previously released on Columbia Records' EPIC label in the 3LP set, The Rasumovsky Quartets (SC 6052 [LC 3901-3, mono] and BSC 152 [BC 1301-3, mono]) on July 26, 1964. Due to running time restrictions in the LP
production the original sequence of the LP set D3M 34094 (released in April 1976) was Nos.7, 8, 11, 9, 10. Also: Quartet No.11 was not recorded in the mid-1960s with the rest of the Middle Quartets; instead it was recorded in March 1970, and with Samuel
Rhodes (via) replacing Raphael Hillyer.

-Robert Mann (vln)
-Isadore Cohen (vln)
-Raphael Hillyer (vla)
-Claus Adam (vlc)

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On Tuesday, October 18, 2022 at 3:28:22 PM UTC-7, Oscar wrote:

Now playing:

Beethoven: String Quartet No.10 in E-flat major, Op.74 'Harp'

Too much Beethoven!
You nee to detoxify! ;-)

Rx: Debussy, Albeniz

dk

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On Wednesday, October 19, 2022 at 12:28:22 AM UTC+2, Oscar wrote:

Now playing:

Beethoven: String Quartet No.10 in E-flat major, Op.74 'Harp'
From Beethoven String Quartets: The 1964-70 Recordings [disc no.6]

Juilliard String Quartet

Sony Classical 19075992332 ℗ © 2020. 9CD boxed set.

This Juilliard 'Harp' is arguably the best of their LvB recordings, maybe with the middle Razumovsky. So did they do some remaster work on this? I'm not even sure that's really necessary. It's just four fiddles in an ultra dry studio. 1965 technology

could handle that very well.

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On Wednesday, October 19, 2022 at 10:34:59 AM UTC-7, Herman wrote:

This Juilliard 'Harp' is arguably the best of their LvB
recordings, maybe with the middle Razumovsky.

What do you think of Juilliard's opp. 95 and 127?

Thx

dk

--- SoupGate-Win32 v1.05
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In article <tihmqi$tjk$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In article <9343da85-9d1f-4df3-889d-ad9a712c5fd8n@googlegroups.com>,
Oscar <oscaredwardwilliamson@gmail.com> wrote:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944 >>B'Rock Orchestra / René Jacobs

Strong first impression. I enjoy the basic sound/timbres & the way
the phrases are articulated.

A few more hearings, and I've really enjoyed this album. (I can
do without the textual readings, but they're easily omitted.)

--- SoupGate-Win32 v1.05
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In article <tipjv1$cp8$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In article <tihmqi$tjk$1@hope.eyrie.org>,
Todd M. McComb <mccomb@medieval.org> wrote:

In article <9343da85-9d1f-4df3-889d-ad9a712c5fd8n@googlegroups.com>,
Oscar <oscaredwardwilliamson@gmail.com> wrote:

Schubert: Symphonies Nos.8 in B minor, D.759; and 9 in C major, D.944 >>>B'Rock Orchestra / René Jacobs

Strong first impression. I enjoy the basic sound/timbres & the way
the phrases are articulated.

I finally took a look at the essay accompanying this release. It's
very long, but doesn't really say anything explicit about performance
choices. Rather, it's Jacobs' -- sometimes excruciatingly --
detailed blow by blow of the 6 movements.... So I suppose his
remarks do say something about his interpretive choices, but only
by implication....

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Appissionata.

dk

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On Thursday, October 20, 2022 at 12:38:18 AM UTC-7, Herman wrote:

Peeps over a certain age (ballpark
70) with psychiatric problems can't
be helped. It only gets worse.

You must then be over 180 ?!?

dk

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On Thursday, October 20, 2022 at 12:17:38 AM UTC-7, MELMOTH wrote:

Dan Koren avait énoncé :

Appissionata.

You're not aging well, my koko...
I am very worried about you...
When will you decide to consult
a doctor?...I ask the question...

So much fuss about a typo ?!?

dk

--- SoupGate-Win32 v1.05
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On Thursday, October 20, 2022 at 9:17:38 AM UTC+2, MELMOTH wrote:

Dan Koren avait énoncé :

Appissionata.

You're not aging well, my koko...
I am very worried about you...
When will you decide to consult a doctor?...I ask the question...

Peeps over a certain age (ballpark 70) with psychiatric problems can't be helped. It only gets worse.

--- SoupGate-Win32 v1.05
* Origin: fsxNet Usenet Gateway (21:1/5)

Dan Koren avait �nonc� :

Appissionata.

You're not aging well, my koko...
I am very worried about you...
When will you decide to consult a doctor?...I ask the question...

--- SoupGate-Win32 v1.05
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Another "no, you're the puppet" response.

You're really textbook.

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On Thursday, October 20, 2022 at 1:31:26 AM UTC-7, Herman wrote:

Another "no, you're the puppet" response.

You wish you were a puppet.
You are nothing but rotten
holey Gouda!

dk

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On 10/15/2022 5:49 PM, Oscar wrote:

On Saturday, October 15, 2022 at 2:13:03 PM, Frank Berger wrote:

It wasn't instant. I'm not saying he didn't approach this with bias, but he clearly took considerable time listening and describing
what he heard. It would be interesting to hear you (if you agree with Oscar) and Oscar comment on Hurwitz's review in a meaningful way.

First, it was not a review posted to ClassicsToday-dot-com. It was a video review on YT, and the click-bait headline is . . . René Jacobs' Vile, Inane, Disgraceful Schubert.

Say no more? I think so.

I find it interesting that Hurwitz's critics seem unwilling to engage him on substantive points, instead dismissing him on the basis of his attitude, language or style.

--- SoupGate-Win32 v1.05
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On 10/20/22 9:20 AM, Frank Berger wrote:

On 10/15/2022 5:49 PM, Oscar wrote:

On Saturday, October 15, 2022 at 2:13:03 PM, Frank Berger wrote:

It wasn't instant. I'm not saying he didn't approach this with bias,
but he clearly took considerable time listening and describing
what he heard. It would be interesting to hear you (if you agree with
Oscar) and Oscar comment on Hurwitz's review in a meaningful way.

First, it was not a review posted to ClassicsToday-dot-com. It was a
video review on YT, and the click-bait headline is . . . René Jacobs'
Vile, Inane, Disgraceful Schubert.

Say no more? I think so.

I find it interesting that Hurwitz's critics seem unwilling to engage
him on substantive points, instead dismissing him on the basis of his attitude, language or style.

His substantive points are hidden in a thicket of name-calling and
personal attacks.

It took four minutes to get to "no tempo changes in the first movement
of the Great." I guess he missed the subtle quickening and the change
from half-note to quarter-note pulse.

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On Thursday, October 20, 2022 at 7:20:37 AM UTC-7, Frank Berger wrote:

On 10/15/2022 5:49 PM, Oscar wrote:

On Saturday, October 15, 2022 at 2:13:03 PM, Frank Berger wrote:

It wasn't instant. I'm not saying he didn't approach this
with bias, but he clearly took considerable time listening
and describing what he heard. It would be interesting to
hear you (if you agree with Oscar) and Oscar comment
on Hurwitz's review in a meaningful way.

First, it was not a review posted to ClassicsToday-dot-com.
It was a video review on YT, and the click-bait headline is . . .
René Jacobs' Vile, Inane, Disgraceful Schubert.
Say no more? I think so.

And why not?

I find it interesting that Hurwitz's critics seem unwilling
to engage him on substantive points, instead dismissing
him on the basis of his attitude, language or style.

What else is new? This is par for the course as expected.

The classical music deep state cannot tolerate diversity
of taste or opinion.

I do not often agree with DH, however in this particular
case, I agree with him 1111% !! No, make that 9999% !!!

Jacobs' is by very very far the shittiest butcher job on
Schubert's music. A computer would have made more
music out of the scores!

dk

--- SoupGate-Win32 v1.05
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On Thursday, October 20, 2022 at 12:17:43 PM UTC-7, Dan Koren wrote:

On Thursday, October 20, 2022 at 7:20:37 AM UTC-7, Frank Berger wrote:

On 10/15/2022 5:49 PM, Oscar wrote:

On Saturday, October 15, 2022 at 2:13:03 PM, Frank Berger wrote:

It wasn't instant. I'm not saying he didn't approach this
with bias, but he clearly took considerable time listening
and describing what he heard. It would be interesting to
hear you (if you agree with Oscar) and Oscar comment
on Hurwitz's review in a meaningful way.

First, it was not a review posted to ClassicsToday-dot-com.
It was a video review on YT, and the click-bait headline is . . .
René Jacobs' Vile, Inane, Disgraceful Schubert.
Say no more? I think so.

And why not?

I find it interesting that Hurwitz's critics seem unwilling
to engage him on substantive points, instead dismissing
him on the basis of his attitude, language or style.

What else is new? This is par for the course as expected.

The classical music deep state cannot tolerate diversity
of taste or opinion.

I do not often agree with DH, however in this particular
case, I agree with him 1111% !! No, make that 9999% !!!

Jacobs' is by very very far the shittiest butcher job on
Schubert's music. A computer would have made more
music out of the scores!

And for those who desperately need an el cheapo box of
Schubert's symphonies, Herbert Blomstedt does a much
better job with the Dresden Staatskapelle, even though
he sounds a bit heavy handed in places:

https://www.youtube.com/watch?v=8ok-cB1bH2s

dk

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On Thursday, October 20, 2022 at 12:21:29 PM, deekay wrote:

And for those who desperately need an el cheapo box of
Schubert's symphonies, Herbert Blomstedt does a much
better job with the Dresden Staatskapelle, even though
he sounds a bit heavy handed in places:

See, and that is precisely what we are _not_ seeking, deekay, i.e. "heavy-handed". Go Sawallisch yr pride, check out the CD in question and hope aboard the René Express! En voiture!

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On Thursday, October 20, 2022 at 1:21:02 PM UTC-7, Oscar wrote:

On Thursday, October 20, 2022 at 12:21:29 PM, deekay wrote:

And for those who desperately need an el cheapo box of
Schubert's symphonies, Herbert Blomstedt does a much
better job with the Dresden Staatskapelle, even though
he sounds a bit heavy handed in places:

See, and that is precisely what we are _not_ seeking, deekay,
i.e. "heavy-handed". Go Sawallisch yr pride, check out the CD

I have been recommending Sawallisch's Brahms and Schubert
on r.m.c.r. since before you were born! ;-)

in question and hope aboard the René Express! En voiture!

Nope. I will puncture its tires, pour gasoline over it, and throw
a match. I am not interested in light and stupid, which is what
René Express is exactly. Idiotic historicism and literalism.

dk

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On Thursday, October 20, 2022 at 1:54:50 PM, deekay wrote:

I have been recommending Sawallisch's Brahms and Schubert
on r.m.c.r. since before you were born! ;-)

Schumann Symphonies? Yes, that's the one. But I have the Schubert also, on HMV LP first pressing boxed set. If you like Sen. Harry Reid-style* Schubert that's _yr_ bag—you get to hold it!

Nope. I will puncture its tires, pour gasoline over it, and throw
a match. I am not interested in light and stupid, which is what
René Express is exactly. Idiotic historicism and literalism.

Well, now that I see yr antifa sympathizing is real and not just fakery I shall remove myself from the conversation. For the sake of my personal safety and that of my loved ones. And my painstakingly maintained CD collection. P.S. Were you actually
listen to the title in question you would discover it is not 'light and stupid' at all.


*old fuddy-duddy

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On Thursday, October 20, 2022 at 5:20:20 PM UTC-7, Oscar wrote:

On Thursday, October 20, 2022 at 1:54:50 PM, deekay wrote:

I have been recommending Sawallisch's Brahms and Schubert
on r.m.c.r. since before you were born! ;-)

Schumann Symphonies? Yes, that's the one. But I have the Schubert
also, on HMV LP first pressing boxed set. If you like Sen. Harry
Reid-style* Schubert that's _yr_ bag—you get to hold it!

Nope. I will puncture its tires, pour gasoline over it, and throw
a match. I am not interested in light and stupid, which is what
René Express is exactly. Idiotic historicism and literalism.

Well, now that I see yr antifa sympathizing is real and not just fakery I

?!? What "antifa" ?!? You really sound compelled to politicize every
topic and every discussion !!!

shall remove myself from the conversation. For the
sake of my personal safety and that of my loved ones.
And my painstakingly maintained CD collection.

No one is threatening you or your family or your CDs!
Just don't forget to demagnetize them once a month!

P.S. Were you actually listen to the title in question you
would discover it is not 'light and stupid' at all.

I have actually listened to the said recordings. I never say
one word about performances or recordings I did not hear.

It is very clear that you suffer from the same disease as
Herman, Melmoth, Marc S and a few others around here:
zero tolerance not only for other people's opinions, but
even for the notion that there is room for other opinions
and that those holding them are not sick or illiterate or
stupid.

Go back to your Bruckner performed by Nazi conductors
leading Nazi orchestras!

dk

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On Thursday, October 20, 2022 at 12:17:38 AM UTC-7, MELMOTH wrote:

Dan Koren avait énoncé :

Appissionata.

You're not aging well, my koko...
I am very worried about you...
When will you decide to consult
a doctor?...I ask the question...

In case you haven't figured this
one out yet, I use an ergonomic
French Bvofrak keyboard layout
where the A and I keys are next
to each other. Funny how the
French cannot even recognize
their own! ;-)

dk

PS. The ultimate cruelest
torture is typing on a French
keyboard while listening to
BBC News in Welsh.

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Brahms: Piano Quintet in F minor, Op.34

The Cleveland Quartet
w/ Emanuel Ax (pf, Steinway - Hamburg, no.094)

RCA Red Seal RCD1-4954 ℗ 1984 © 1984, 1986. CD.
Stereo.
Recorded at RCA Studio 'A', New York City, December 22 & 23, 1982.
Produced by Jay David Saks.
Recording engineer: Paul Goodman.
Digital recording, editing and mastering by Soundstream Inc.
Engineer: Thomas MacCluskey.
Microphones: Schoeps, Neumann.
Recording console: MCI JH600 Series.
Booklet note: Harris Goldsmith.
Cover art: Ada Calabrese.
Disc is Made In Japan.

RCA by RCA Corporation, Red Seal trademark by RCA/Ariola International.
© 1986, 1984 RCA/Ariola Internațional, New York, N.Y.
Printed in U.S.A.

COMMENT: Axman's finest chamber outing, by far, and a legendary American quintet recording. There is _no_ digital harshness or glare or anything but true, honest-to-goodness rich, creamy, vibrant string playing and satisfyingly tuneful and resounding (in
the Scherzo!) pianism on this CD. This is an autumnal favorite, although paradoxically it does not come from Brahms's later years. He was 31 when he composed it in the summer of 1864; Fritz Simrock published it in 1865. I found this 1st pressing in the
bins last month and have finally gotten around to spinning it .Smooth-sided case. In the 19th C., Niccolò Paganini acquired all four of the Strads played herein. The cello was made when the great old man was 93, and this very viola inspired inspired
Paganini to commission Hector Berlioz to write Harold In Italy. Eventually, art patroness acquired all four instruments, after the early 20th C. violin dealer Emil Hermann has reassembled the set (a mission which took him 25 years to accomplish), and
upon the dissolution of the Paganini String Quartet, to whom they were on extended loan, she gave the set to the Corcoran Gallery of Art in Washington D.C. with the stipulation that they never again be separated. May they never be so. P.S. Don
Weilerstein is the father of Alicia, the cellist (formerly Decca, now Pentatone).

-Donald Weilerstein (vln, Stradivarius, Cremona, 1724)
-Peter Salaf (vln, Stradivarius, Cremona, 1692)
-Atar Arad (vla, Stradivarius, Cremona, 1731)
-Paul Katz (vlc, Stradivarius, Cremona, 1736)

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From Washington Post

<< Sale of Strads Triples Corcoran Endowment
By Jo Ann Lewis
May 4, 1994

The Corcoran Gallery of Art's paltry $ 6 million endowment more than tripled last week after the museum sold its set of four rare Stradivarius stringed instruments to the nonprofit Japan Music Foundation for $ 15 million. "The money will go straight into
the endowment to generate income for operating costs," said Corcoran Director David C. Levy, who delivered the viola, two violins and cello to Tokyo last week. Known as "The Paganini Quartet" because they were once owned and played by 19th-century
virtuoso Niccolo Paganini, the instruments were built between 1696 and 1736 by the most celebrated of Italian violin makers, Antonio Stradivari.

Bequeathed to the museum 30 years ago by the widow of Corcoran benefactor Sen. William A. Clark, the instruments have been periodically lent to various musical groups, including the National Symphony Orchestra and, most recently, the Cleveland String
Quartet. Levy, a trained violinist and jazz clarinetist, said the decision to sell was prompted not only by the museum's ongoing deficit, but also by its inability to do the instruments justice. "They were locked up in a safe behind my office, and that's
not what you should do with great instruments -- they needed to be played and protected at the same time," he said. He said it took 10 months to identify a buyer who would guarantee proper stewardship of the instruments, by which he meant keeping them
together and seeing that they are lent at no charge to great and aspiring musicians around the world. Jacques Francais, a leading American dealer in rare stringed instruments, found the Japan Music Foundation and was paid what Levy would only say was a "
small" commission. "What a $ 21 million endowment means is that the Corcoran has a future, and a little bit of breathing space," Levy said yesterday. "We've been running too close to the wire. When I arrived in 1991, there was a $ 1.7 million deficit,
which we've been whittling down, but it has not been a luxurious situation." The museum closed the last fiscal year $ 200,000 in the red. "It's been a delicate juggling act, trying to bring in the curatorial people we need. This just gives us the ability
to behave normally, instead of walking on the edge of a razor all the time." He said the $ 15 million is expected to bring an additional $ 700,000 in annual income, which he hopes will fend off future deficits. "But it would be a terrible mistake to
think of this as some kind of a windfall. It's wonderful on the one hand, because it gives the Corcoran a sense of stability. But with a $ 9 million operating budget, a safe endowment should be three times that amount." Levy is looking to another bequest
from Clark -- a matched quartet of instruments made by Nicolo Amati, teacher of Stradivari -- to jack up the endowment further at some future date. "They are presently on two-year loan to the Takacs String Quartet of Budapest, but are due to be returned
next fall," said Levy. "We hope they'll bring around $ 4 million, but we're in no hurry to sell." >>

https://www.washingtonpost.com/archive/1994/05/04/sale-of-strads-triples-corcoran-endowment/c7eb683e-cc53-4776-a9f7-72852abd6d4f/

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On Thursday, October 20, 2022 at 11:15:07 PM UTC-7, Oscar wrote:

Brahms: Piano Quintet in F minor, Op.34

The Cleveland Quartet
w/ Emanuel Ax (pf, Steinway - Hamburg, no.094)

RCA Red Seal RCD1-4954 ℗ 1984 © 1984, 1986. CD.

Nope. If looking for an "American" performance,
Rubinstein/Guarneri is still the top reading this
side of the pond. Ultimate performance? Richter/
Borodin, though some might be discouraged by
poor sound quality. European polish? Pollini/
Italiano.

Give Ax the axe.

dk

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From Forbes:

<< From Washington To Tokyo To Cremona: The Most Famous Set Of Instruments Finds A New Home
By Jens F. Laurson
Sept. 29, 2017

One reason that Washington D.C., not otherwise the most fertile ground for culture, has long been one of the greatest chamber music towns in the world was the presence of not one, but two! famous and fabled instrument-sets by the most renowned luthier of
all times, Antonio Stradivari.

On one side of the Mall, the Corcoran Gallery of Art had a magnificent instrument collection which included the so-called “Paganini Quartet”, named after the violin virtuoso Niccolò Paganini who once owned these instruments. Each of the instruments
has a fascinating story; two were owned by Felix Mendelssohn, and the viola of that set was the instrument for which Berlioz, on Paganini’s commission, wrote one of the most famous viola concertos, Harold in Italy.

The instruments had been played by the Paganini Quartet, which named itself after the set that Anna E. “Mrs. William” Clarke had bought for them. In accordance with her will, the instruments passed to the Corcoran Gallery in 1966. After being played
irregularly by musicians of the National Symphony Orchestra, the Corcoran Gallery – which also had a set of Amati instruments, lent to the Tokyo String Quartet at the time – loaned the instruments to the Cleveland Quartet in 1982. Now the Tokyo
String Quartet and the Cleveland Quartet performed regular recitals on their respective instruments in DC… further enriching Washington’s already rich chamber music scene.

On the other side of the Mall, the Library of Congress had (and still owns) another complete Stradivari set (plus an extra violin in reserve, so to say) with the “Castelbarco”, “Ward” and “Betts” violins, the “Cassavetti” viola, and the �
�Castelbarco” cello. Visiting string quartets get to play these instruments; with the Juilliard Quartet having performed their long-lasting quartet series on these instruments. Washington enjoyed Stereo Stradivari if you wish.

In 1994 the Corcoran Gallery had to sell their instruments – and the Nippon Music Foundation, a semi-governmental organization in Japan that has the world’s largest collection of Stradivarius instruments, swept in. Too bad for D.C. music-lovers, but
the ‘damage’ had been done: Washington’s chamber music audience had been further spoiled for years and decades and grown to be discerning and curious in an abundance that I have not encountered in any other city, including, for example, Vienna. But
in a way, the instruments stayed in the larger family because the Nippon Foundation now lent these instruments to the Tokyo String Quartet.

Incidentally, D.C. only went for three years without two Stradivari quartet sets. Shortly after the sale of the Paganini Quartet, in 1997, the controversial Dr. Herbert Axelrod donated the set he had collected – the Axelrod Quartet consisting of the “
Greffuhle” and “Ole Bull” violins, the “Axelrod” viola, and the “Marylebone” cello – to the Smithsonian Institution National Museum of American History. (Incidentally, it was the Tokyo String Quartet who first performed as a quartet on
the Axelrod set, in 1985. See also Tim Page’s article from the Chicago Tribune.)

The Tokyo String Quartet meanwhile went on to record their second complete set of the Beethoven String Quartets on their new instruments for Harmonia Mundi (see also: A Survey of Beethoven String Quartet Cycles) and retired in 2012. After that, the
slowly deteriorating but once ultra-perfectionist Hagen Quartet were given these instruments.

And now, the Nippon Foundation has found a new quartet whom to lend the instruments to. The lucky recipients are the Quartetto di Cremona. Founded in 2000, the quartet came to my notice through a cycle of Beethoven string quartets (see above survey) on
SACD on the Audite label – alert, bracing, and racy performances – which they have just now concluded with Volume 8. The first concert on their new Stradivari toys will take place today in Hamburg. They seem like very worthy keepers of the musical
flame that blazes in these powerful (sometimes brash; rarely sweet) instruments. And with a bit of luck, they’ll be regular guests in Washington D.C. The Corcoran Gallery may not exist anymore, but the chamber music audience is still out there – and
ever hungry for quality. >>

https://www.forbes.com/sites/jenslaurson/2017/09/29/from-washington-to-tokyo-to-cremona-the-most-famous-set-of-instruments-finds-a-new-home/?sh=c0b62e674d23

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On Friday, October 21, 2022 at 2:40:18 AM UTC+2, dan....@gmail.com wrote:

Go back to your Bruckner performed by Nazi conductors
leading Nazi orchestras!

WAYLTL means "what are you listening to?"
Clearly you want it to mean: You have to listen to Crazy Koren yelling at you. However since most other threads are already dedicated to that purpose, why not keep this one just WAYLTL?

For instance, we had been listening to various harpsichordists playing the C sharp minor prelude and fugue from WTC I.
Leonhardt, Koopman, Glen Wilson and Bertrand Cuillet from the Bach Club.
Having grown up (as it were) on Leonhardt's dramatic account I now liked Koopman a lot, the way he keeps going forward.
Cuillet, who has a beautiful French hch at his home, is playing among his toddler's toys and we couldn't help but think it kind of had an impact on his easy easy rendition.

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On Friday, October 21, 2022 at 12:35:40 AM UTC-7, Herman wrote:

For instance, we had been listening to various harpsichordists
playing the C sharp minor prelude and fugue from WTC I.
Leonhardt, Koopman, Glen Wilson and Bertrand Cuillet from the
Bach Club.
Having grown up (as it were) on Leonhardt's dramatic account I
now liked Koopman a lot, the way he keeps going forward.
Cuillet, who has a beautiful French hch at his home, is playing
among his toddler's toys and we couldn't help but think it kind of
had an impact on his easy easy rendition.

Good to hear this keeps you happy.
It also lowers market competition
for piano recordings.

dk

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More SOMM! One of my favorite labels.

British Violin Sonatas

Clare Howick (vln) & Simon Callaghan (pf)

SOMM Recordings SOMMCD 0610 ℗ © 2020. CD.
DDD.
Recorded at Wathen Hall, St. Paul's School, London, September 7 & 8, 2019. Recording producer: Siva Oke.
Recording engineer: Paul Arden-Taylor.
Assistant editor: Clare Howick.
Piano: Steinway Model 'D'.
Design: Andrew Giles.
Booklet editor: Michael Quinn.
Booklet note © Robert Matthew-Walker, 2020.
http://www.somm-recordings.com
© & ℗ 2020 SOMM Recordings - Thames Ditton - Surrey - England
Made In E.U.

COMMENT: These are all excellent works, to varying degrees. The Walton is a masterpiece, and this is as fine a performance as you are likely to hear. Why is it not part of the canon for this repertoire? Gordon Jacobs's miniatures are delightful and
masterly. Kenneth Leighton, a name with which I am not acquainted (have seen it in print) composed a highly original sonata, aged 19, and it is programmed in this recital to great effect by Ms. Howick and Mr. Callaghan. In particular, the Lento e
liberamente stands out for its compositional excellence and heart-rending musicality. The rest of the pieces are similarly of high calibre and delivered with élan and genuine affection. Highest recommendation. And this set doesn't even include the most
highly regarded of British violin sonatas, John Ireland's Sonata No.2 in A minor (1915-17) and Elgar's Sonata in E minor, Op.82 (1918). Bring on Vol.2! P.S. Frederick Grinke, for whom Jacob and Berkeley composed works, was a highly-regarded British
violinist of the era. I have not heretofore heard his name.

-Walton: Sonata for violin and piano (1948)
-Alwyn: Sonatina for violin and piano (c.1933)
-Gordon Jacob: Elegy (1972)*
-Gordon Jacob: Caprice (1975)*
-Gordon Jacob: Little Dancer (for Frederick Grinke) (1959)*
-Kenneth Leighton: Sonata for violin and piano No.1 (1948)
-Rawsthorne: Pierrette: Valse Caprice (1934)
-Berkeley: Elegy, Op.33 No.2 (1951)
-Berkeley: Toccata, Op.33 No.3 (for Frederick Grinke) (1951)

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Now playing:

Beethoven: String Quartet No.4 in C minor, Op.18 No.4, & No.13 in B-flat major, Op.130

Mettis Quartet

Odradek Records, streaming via AppleMusic.

COMMENT: Outstanding young quartet from Lithuania. Their irst CD, but as a unit they have been assembled for 10 years now. Check them out! Really, really good. Perfect palette cleanser after listening to the dreadful Quartetto di Cremona on audite. Yuk.

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A couple of early compositions from underrated US classical music
pioneer, Pauline Oliveros (1932-2016), plus some improvisations:

https://paulineoliverosjamesilgenfritz.bandcamp.com/album/altamirage

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Lately I’ve been listening to Hindemith, most intensely to Der Schwanendreher. Not that any of his work is prominent, but this piece
for viola and orchestra doesn’t seem to be well known (of course that is
not true for viola folks, whose repertoire is certainly limited!)

I have mixed feelings about Hindemith - I really feel I should like his
stuff more - but the word that always comes to mind is “lumbering”. That and his lack of a real gift for melody puts me off.

On the other hand I recognize his mastery of composition and
orchestration - I certainly love the Symphonic Metamorphoses (I must
have 7 versions) and enjoy the Mathis Symphony and other works.

The Metamorphoses benefit by utilizing themes by Weber and the fact the Hindemith didn’t feel he had to be so “serious”. That’s also why I’m enjoying Schwanendreher - it is based on catchy folk tunes and is with a
light hearted style.

I’m always astonished at the knowledge at RMCR (shameless flattery with
the hope that I get accepted in this group) and was wondering if people
have recommendations for recordings? I have the Benyamini/Barenboim
version on DG. It seems acceptable but somewhat … dutiful.

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On Monday, October 24, 2022 at 12:10:37 AM UTC+2, Notsure01 wrote:

his lack of a real gift for melody puts me off.

My feeling is Hindemith gets better the smaller his ensemble gets. So I like his solo works best.
ludus tonalis, the solo violin sonatas, the solo viola sonatas. If he's the last great German master I like the penultimate one, Max Reger, even better.

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On 10/23/22 9:41 PM, Herman wrote:

On Monday, October 24, 2022 at 12:10:37 AM UTC+2, Notsure01 wrote:

his lack of a real gift for melody puts me off.

My feeling is Hindemith gets better the smaller his ensemble gets. So I like his solo works best.
ludus tonalis, the solo violin sonatas, the solo viola sonatas. If he's the last great German master I like the penultimate one, Max Reger, even better.

I guess that explains why I like the "Kleine" Kammermusic for Winds so much!

Thanks, Herman - recommendations for specific versions of the sonatas
would be great...

I enjoy Reger also - the orchestral works and also like the clarinet
quintet (the Geuser/Heutling version).

I'm certainly NotSure why Reger has the reputation for being dull and
pedantic - people "flying" from all the fugues??

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On Monday, October 24, 2022 at 4:59:52 AM UTC+2, Notsure01 wrote:

I'm certainly NotSure why Reger has the reputation for being dull and pedantic - people "flying" from all the fugues??

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot? No they don't, because they don't know where to start.
So in Regers case I tend to think start from the back end; the late works that are not as 'busy' as the works under opus nr 100.

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On 10/24/22 3:00 AM, Herman wrote:

On Monday, October 24, 2022 at 4:59:52 AM UTC+2, Notsure01 wrote:

I'm certainly NotSure why Reger has the reputation for being dull and
pedantic - people "flying" from all the fugues??

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot? No they don't, because they don't know where to start.
So in Regers case I tend to think start from the back end; the late works that are not as 'busy' as the works under opus nr 100.

Good point about prolific composers - might explain neglect of
Boccherini, Milhaud, etc - the "Telemann Effect?" But how do we explain
Vivaldi - or Scarlatti (who I love)...

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On Monday, October 24, 2022 at 10:09:04 AM UTC+2, Notsure01 wrote:

On 10/24/22 3:00 AM, Herman wrote:

Good point about prolific composers - might explain neglect of
Boccherini, Milhaud, etc - the "Telemann Effect?" But how do we explain Vivaldi - or Scarlatti (who I love)...

Name pieces. Four seasons, just like the pizza!
Milhaud = Boeuf sur le Toit.
Not sure Scarlatti has any popularity...

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Telemann btw is hugely popular among amateur musicians.
His music is highly rewarding for home performance.

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On Monday, October 24, 2022 at 8:39:51 PM UTC+11, Herman wrote:

On Monday, October 24, 2022 at 10:09:04 AM UTC+2, Notsure01 wrote:

On 10/24/22 3:00 AM, Herman wrote:

Good point about prolific composers - might explain neglect of
Boccherini, Milhaud, etc - the "Telemann Effect?" But how do we explain Vivaldi - or Scarlatti (who I love)...

Name pieces. Four seasons, just like the pizza!
Milhaud = Boeuf sur le Toit.
Not sure Scarlatti has any popularity...

Vivaldi - the Gloria (very popular with amateur choirs) and the superb L'Estro Harmonico violin concertos.
Scarlatti - Various keyboard sonatas I can never remember the Kk or P numbers but I know what I like.
Milhaud. La Creation du Monde. One of the first jazz-influenced pieces in the repertoire.
Haydn - no problem for me as I have all the symphonies and string quartets and just dive in. Choirs love the Missa in Angustiis (aka the Nelson Mass in the mistaken belief that it was written to celebrate Nelson's victory over the French at Aboukir Bay).
Boccherini - the minuet from his String Quintet no. 5, as memorably performed in that great comic film "The Ladykillers" (1955). Train buffs will love the film too. Others will know the Ritirada de Madrid from one of the Guitar Quintets. The cello
concertos and the quintets (with 2 cellos) should be better known. Great stuff.

Andrew Clarke
Canberra

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On Monday, October 24, 2022 at 2:41:32 AM UTC-7, Herman wrote:

Telemann btw is hugely popular among amateur musicians.
His music is highly rewarding for home performance.

Not surprising for an amateur composer.

dk

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On Monday, October 24, 2022 at 12:00:03 AM UTC-7, Herman wrote:

On Monday, October 24, 2022 at 4:59:52 AM UTC+2, Notsure01 wrote:

I'm certainly NotSure why Reger has the reputation for
being dull and pedantic - people "flying" from all the fugues??

Both Hindemith and Reger composed huge numbers of
works. As did Haydn. Do people listen to Haydn a lot?
No they don't, because they don't know where to start.

Begin at the beginning,” the King said gravely,
“and go on till you come to the end: then stop.”

dk

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On Monday, October 24, 2022 at 10:56:40 AM UTC-7, dan....@gmail.com wrote:

On Monday, October 24, 2022 at 12:00:03 AM UTC-7, Herman wrote:

On Monday, October 24, 2022 at 4:59:52 AM UTC+2, Notsure01 wrote:

I'm certainly NotSure why Reger has the reputation for
being dull and pedantic - people "flying" from all the fugues??

Both Hindemith and Reger composed huge numbers of
works. As did Haydn. Do people listen to Haydn a lot?
No they don't, because they don't know where to start.

https://www.theguardian.com/music/2020/oct/14/haydn-where-to-start-with-his-music

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On 10/24/22 4:08 AM, Notsure01 wrote:

On 10/24/22 3:00 AM, Herman wrote:

On Monday, October 24, 2022 at 4:59:52 AM UTC+2, Notsure01 wrote:

I'm certainly NotSure why Reger has the reputation for being dull and
pedantic - people "flying" from all the fugues??

Both Hindemith and Reger composed huge numbers of works. As did Haydn.
Do people listen to Haydn a lot? No they don't, because they don't
know where to start.

 Good point about prolific composers - might explain neglect of
Boccherini, Milhaud, etc - the "Telemann Effect?" But how do we explain Vivaldi - or Scarlatti (who I love)...

I appreciate all the replies -- but I was probably too terse (rare for
me) so wasn't clear. My point is that there are some prolific composers (Boccherini, Milhaud) that are known for a few works - but the rest of
their music is neglected. For Vivaldi, there are huge quantities of
concertos, and while there is that famous piece, other sets of concertos
are prominent also (I enjoy L'Estro Armonico). Compare the number of
recordings of Vivaldi to those of Telemann...

While I agree with Herman's point, the fact that there are 555 Scarlatti sonatas (each a gem) hasn't affected his popularity.

Maybe Vivaldi is simply a better composer than Telemann?

(We could get into a discussion now of why certain favorite works are so
seldom performed - a perennial subject for sure - but that is worthy of
a separate thread).

(And I like Telemann's A Minor suite for recorder better than the Bach
suites -- and enjoy the Overture Burlesque de Quichotte. Both are
available in fine performances here: http://thebachguild.net/product-page/little-big-box-of-telemann/ )

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Herman a couch� sur son �cran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

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https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have sold her soul to the devil to play like this...

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On Wednesday, 26 October 2022 at 16:15:29 UTC+11, pnal...gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have sold her soul to the devil to play like this...

There are few pianists alive who can play like this.

Ray Hall, Taree

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On Tuesday, October 25, 2022 at 10:15:29 PM UTC-7, pnal...@gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have
sold her soul to the devil to play like this...

Only violinists need to sell their souls to the devil.
Pianists can manage without outside help.

dk

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On Monday, October 24, 2022 at 3:03:02 PM UTC-7, MELMOTH wrote:

Herman a couché sur son écran :

Both Hindemith and Reger composed
huge numbers of works. As did Haydn.
Do people listen to Haydn a lot?

There is hardly a day when I
don't listen to Papa Haydn...

in the hope Papa Haydn will
grant you an audience ?!?

dk

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On Tuesday, October 25, 2022 at 10:15:29 PM UTC-7, pnal...@gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have sold her soul to the devil to play like this...

Apparently the devil lives in Vienna:

https://www.youtube.com/watch?v=w-02CXhGXCQ

dk

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On Thursday, October 27, 2022 at 1:45:26 PM UTC-7, dan....@gmail.com wrote:

On Tuesday, October 25, 2022 at 10:15:29 PM UTC-7, pnal...@gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have sold her soul to the devil to play like this...

Apparently the devil lives in Vienna:

https://www.youtube.com/watch?v=w-02CXhGXCQ

dk

She continues to amaze me...

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On Thursday, October 20, 2022 at 7:53:52 PM UTC-7, Dan Koren wrote:

On Thursday, October 20, 2022 at 12:17:38 AM UTC-7, MELMOTH wrote:

Dan Koren avait énoncé :

Appissionata.

You're not aging well, my koko...
I am very worried about you...
When will you decide to consult
a doctor?...I ask the question...

In case you haven't figured this
one out yet, I use an ergonomic
French Bvofrak keyboard layout
where the A and I keys are next
to each other. Funny how the
French cannot even recognize
their own! ;-)

https://www.qeyboard.fr/2018/02/la-keymap-la-plus-optimisee/

dk

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On Thursday, October 27, 2022 at 12:06:43 PM UTC-7, Dan Koren wrote:

On Tuesday, October 25, 2022 at 10:15:29 PM UTC-7, pnal...@gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have
sold her soul to the devil to play like this...

Only violinists need to sell their souls to the devil.
Pianists can manage without outside help.

For instance:

https://www.dropbox.com/s/yuu7zhevfe9ca3u/Mephisto%20Waltz.mp3?dl=0

dk

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On Sunday, October 30, 2022 at 1:43:25 AM UTC-7, Dan Koren wrote:

On Thursday, October 27, 2022 at 12:06:43 PM UTC-7, Dan Koren wrote:

On Tuesday, October 25, 2022 at 10:15:29 PM UTC-7, pnal...@gmail.com wrote:

https://www.youtube.com/watch?v=9NuUyPk103o&ab_channel=GeorgeCollier

I'm pretty sure that Hiromi Uehara must have
sold her soul to the devil to play like this...

Only violinists need to sell their souls to the devil.
Pianists can manage without outside help.

For instance:

https://www.dropbox.com/s/yuu7zhevfe9ca3u/Mephisto%20Waltz.mp3?dl=0

Or this one:

https://www.dropbox.com/s/bqp1i9u7haqyi41/Liszt%20Mephisto%20Valse%20no%201%20S.514.mp3?dl=0

dk

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Herman a couch� sur son �cran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

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Herman a couch� sur son �cran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

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Op maandag 28 november 2022 om 23:33:12 UTC+1 schreef MELMOTH:

Herman a couché sur son écran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

Its an advantage that he is so repetitive.

Henk

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Herman a couch� sur son �cran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

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On Tuesday, November 29, 2022 at 12:13:03 AM UTC+1, MELMOTH wrote:

Herman a couché sur son écran :

Both Hindemith and Reger composed huge numbers of works. As did Haydn. Do people listen to Haydn a lot?

There is hardly a day when I don't listen to Papa Haydn...

well, good for you.
I listened to the op. 76 string quartets last week, and it occurred to me that Haydn is experimenting with these hymn-like slow movements here in almost every one of the six. I used to regard that as the height of Haydn's development. Now I kind of feel
there is a loss of lyricism.

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I listened to an old favourite - Dvorak's slow movement from the New World but not as you know it. I was very fortunate to do a small tour on bass with Horace Parlan in Scandinavia. Lovely man. Exquisite voicings.

https://www.youtube.com/watch?v=Vd-vGYpI82Q&t=360s

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On Tuesday, November 29, 2022 at 9:07:17 AM UTC-5, Andy Evans wrote:

I listened to an old favourite - Dvorak's slow movement from the New World but not as you know it. I was very fortunate to do a small tour on bass with Horace Parlan in Scandinavia. Lovely man. Exquisite voicings.

https://www.youtube.com/watch?v=Vd-vGYpI82Q&t=360s

Bach - Motets - Cantus Colln, Konrad Junghanel (Deutsche Harmonia Mundi)

This ensemble and conductor consistently deliver performances of phenomenal transparency and lightness. They are very beautifully recorded. Their B-Minor Mass may well be my go-to recording.

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