Händel: Messiah

Fabulous work. I was set in a state of timelessness. (I have to add that organic influences helped to this effect) This endeavor has modified my taste for music. I now enjoy vocal music, which I previously did not; and now I have become addicted to original instruments.
The first part of the Messiah I found the most powerful and suggestive. Obviously the famous Hallelujah is a caress. It is specially interesting of this version, that one can actually make sense from the words sung in the Philips' Digital Classics CD.
Nevill Marriner conducts the Academy of St Martin in the Fields.
Soprano: Sylvia McNair
Mezzo-soprano: Anne Sofie von Otter
Alto: Michael Chance
Tenor: Jerry Hadley
Bass: Robert Lloyd

ASMIF Chorus Master: Lázló Heltay

1. Messiah Hwv 56 (Complete)


2. Accompagnato: Comfort Ye, My People


3. Air: Ev'ry Valley Shall Be Exalted


4. Chorus: And The Glory Of The Lord


5. Accompagnato: Thus Saith The Lord


6. Air: "But Who May Abide The Day Of His Coming"


7. Chorus: And He Shall Purify The Sons Of Levi


8. Recitative: Behold, A Virgin Shall Conceive


9. Air - Chorus: O Thou That Tellest Good Tidings


10. Accompagnato: For Behold, Darkness Shall Cover


11. Air: The People That Walked In Darkness


12. Chorus: "For Unto Us A Child Is Born"


13. Messiah Hwv 56 (Complete)


14. Recitative: There Were Shepherds - Accompagnato: And Lo, The Angel Of The Lord -


15. Chorus: Glory To God In The Highest


16. Air: Rejoice Greatly, O Daughter Of Zion


17. Recitative: Then Shall The Eyes Of The Blind


18. Duet: He Shall Feed His Flock


19. Messiah Hwv 56 (Complete)


20. Messiah Hwv 56 (Complete)


21. Air: He Was Despised


22. Chorus: Surely He Hath Borne Our Griefs


23. Chorus: And With His Stripes We Are Healed


24. Chorus: All We Like Sheep Have Gone Astray


25. Accompagnato: All They That See Him


26. Chorus: He Trusted In God


27. Accompagnato: Thy Rebuke Hath Broken His Heart


28. Arioso: Behold And See


29. Accompagnato: He Was Cut Off


30. Aria: But Thou Didst Not Leave


31. Chorus: Lift Up Your Heads


32. Recitative: Unto Which Of The Angels


33. Chorus: Let All The Angels Of God


34. Air: "Thou Art Gone Up On High"


35. Chorus: The Lord Gave The Word


36. Air: How Beautiful Are The Feet


37. Chorus: Their Sound Is Gone Out


38. Air: Why Do The Nations


39. Chorus: Let Us Break Their Bonds Asunder


40. Recitative: He That Dwelleth In Heaven


41. Air: Thou Shalt Break Them


42. Chorus: "Hallelujah"


43. Air: I Know That My Redeemer Liveth


44. Chorus: Since By Man Came Death


45. Air: The Trumpet Shall Sound


46. Air: The Trumpet Shall Sound


47. Recitative: Then Shall Be Brought To Pass


48. Duet: O Death Where Is Thy Sting?


49. Chorus: But Thanks Be To God


50. Air: If God Be For Us


51. Worthy Is The Lamb - Blessing And Honour - Amen

Mozart: Symphonies 2/1

Already by now, we can find Mozart behind his work. Distinct orchestration, clear and joyful themes.
Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 8 D KV 48
Symphony 9 C KV 73
Symphony 10 G KV 74
Symphony 12 G KV 110
Symphony 13 D KV 112

Beethoven: Violin Concerto

Lovely and forceful. I am already addicted to period instrument orchestras.

Thomas Zehetmair plays the violin, and Frans Brüggen directs the Orchestra of the 18th Century, in this live recording 1997.

Along with Violin Concerto in D, op. 61, come Violin Romance 2, 1 (op 50, 40, resp.)

Mozart: Symphonies 1/1

Many many symphonies by Mozart.

I make a general comment now on KV16,19,19a,22,43,45 (Brilliant's Vol 1-CD1). They are so proper. So honest and straightforward. It causes joy just by itself, without having to "discover" things and intentions. It is the work of a child trying to make his big entrance into the adult's world, to make the father proud. And sure does.


Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 1 E flat KV 16
Symphony 4 D KV 19
Symphony F KV 19a
Symphony 5 B flat KV 22
Symphony 6 F KV 43
Symphony 45 D KV 45

Schubert: Winterreise

Beautiful interpretation by Dietrich Fischer-Dieskau (baritone) and Gerald Moore (piano) of Schubert's D911 (Deutsche Grammophon, 1972).

Great narrative was achieved by the baritone's sensibility and dynamic range, as he interprets different characters throughout the work from poems by Wilhelm Müller. No emotions were withheld by Fischer-Dieskau, marking the different characters with distinct voices (timbres). A must-listen. Moore's accompaniment is delicious as well. (Amazon indicated this album has been discontinued by DG)

1. Gute Nacht


2. Die Wetterfahne


3. Gefrorne Tränen


4. Erstarrung


5. Der Lindenbaum


6. Wasserflut


7. Auf dem Flusse


8. Rückblick


9. Irrlicht


10. Rast


11. Frühlingstraum


12. Einsamkeit


13. Die Post


14. Der greise Kopf


15. Die Krähe


16. Letzte Hoffnung


17. Im Dorfe


18. Der stürmische Morgen


19. Täuschung


20. Der Wegweiser


21. Das Wirtshaus


22. Mut


23. Die Nebensonnen


24. Der Leiermann

Bach: Das Wohltemperierte Clavier, Teil II

Now, this is nice. I guess it has to do more with my expectations... but it is hard to tell. The general comments before apply. I just have to say this is more listenable. (I hate my lack of expressive power >-( )

Announcement: revisit Mozart & Bach

Since when this blog was created I was already through many, though still not even 1/3 past the whole Bach & Mozart works as compiled in Brilliant, I have decided that I will relisten to those works to make their corresponding entry.

Therefore, this blog will have a jump in the order, but at some point I will catch up and we will still be a happy family. ;)

Mozart will restart now that I have finished Volume 2, and Bach will start after listening to the Well-tempered Clavier, which is the first work in the second volume.

Mozart: Sinfonia Concertante & Concertone

Neither caught my ear.

• Sinfonia Concertante for violin, viola & orchestra in E flat KV 364
  
• Concertone for 2 violins & orchestra in C KV 190

Gil Sharon, violin
Yuri Gandelsman, viola
Amati Chamber Orchestra, Gil Sharon

Anna & Guido Höbling, violin
Slovak Chamber Orchestra, Bohdan Warchal

Vivaldi: Le Quattro Stagioni & Oboe Concertos

Ah Vivaldi!! I am always marveled at what expressiveness the Four Seasons achieves in such short works. Undoubtedly, it is my favorite work of all!

How emotional are the Four Seasons. Ton Koopman and the Amsterdam Baroque Orchestra make a beautiful interpretation of the Vivaldi's Violin Concertos Op.8.
With such an unobtrusive orchestration, I could listen to notes I had not realized existed in the work. It is like a wooden interpretation, versus the rubber ones I have heard before, where all the instruments blend into each other.... and I loved these concertos even then!

The Oboe Concertos, in Am RV461 and Dm Op8 No9 RV 454, are not quite so appealing, but of course Vivaldi's baroque is (almost) never bad (avoid Motezuma[sic: Moctezuma] opera, 1733).

I would bring the reader's attention to Ottavio Dantone's version with Stefano Montanari at the violin. It can be bought at Aguilar's collection, number 5. It brings a very peculiar interpretation of tempo, which, after I surpassed the shock, left me with a smile.

Please refer to this amazing document (at buywell.com) written by Graeme Skinner for an explanation of how Vivaldi structured and thought about this work.

Particular highlights (section deprecated, see buywell document ;-) )

Spring

•  

Summer

• Summer's first movement the contrast of the period instruments when going into full summer shower mode
• What clear attacks on Summer's 3rd movement! 

Autumn

• 
  

Winter

• Winter's second movement sounds beautifully as a fine clockwork ticking

Ton Koopman, conductor, harpsichord & organ
Marcel Ponseele, oboe
Andrew Manze, violin
Amsterdam Baroque Orchestra
Elatus

Name	Key	Catalogue	Musicians	Observations
Concerto per violino	E	op8#1 (RV 269)	Andrew Manze, violin	La Primavera, spring
Concerto per violino	Gm	op8#2 (RV 315)	Andrew Manze, violin	L'Estate, summer
Concerto per violino	F	op8#3 (RV 293)	Andrew Manze, violin	L'Autunno, autumn
Concerto per violino	Fm	op8#4 (RV 297)	Andrew Manze, violin	L'Inverno, winter
Concerto per oboe	Am	RV 461	Marcel Ponseele, oboe
Concerto per oboe	Dm	op8#9 (RV 454)	Marcel Ponseele, oboe

Mozart: Horn Concertos

This were the Horn Concertos from Brilliant CD 2-15. Lovely pieces them all. This has to be among highlights of Mozart work, at least for naïve Blisteners.
Besides the enjoyable listening, I found the rather shocking track 15, which is a replay of track 9, the Rondo, Allegro from the Horn Concerto in D, KV 412. This one has Giorgio Mereu yelling Mozart's command on the execution. It is rather startling to imagine what is a Classical Music Composer (ooh!!) interrupting his own music.
Though I have heard that this happened with Mozart, the impression when listening is a bit bothering.

Herman Jeurissen, horn
Netherlands Chamber Orchestra, Roy Goodman

Chopin: Polonaises

Soft pearled sound. Emphatic. Pollini plays the Polonaises in a Polydor 1976 recording, now in a Deutsche Grammophon CD.
Acoustic Memory plays a long part in enjoying music, or is it that the more enjoyable music is the one remembered ? I say it because I enjoyed more those that I knew already.
I have to say, that this recording make me "feel" while listening as if I were experiencing a solid in space, ductile, tangible, soft to the grasp.

[2nd round, for omission of description]

Dvořák / Tchaikovsky : Cello Concerto / Rococo Variations

Beautiful! How many themes can fit into a Concerto, that boasts of creativity. How many "profound" themes for movie scores or similar have been inspired by Dvořák's Cello Concerto in Bm, op.104.
And such a nice interpretation by Rostropovich (Мстисла́в Леопо́льдович Ростропо́вич), with the Boston Symphony Orchestra conducted by Seiji Ozawa, an Elatus CD.

The Rococo Variations Op.33 remind us of Tchaikovsy's (Чайкoвский) pompousness. Nice listening, nevertheless.

Dvořák: Cello concerto in Bm Op.104



• Allegro


• Adagio ma non troppo


• Finale: Allegro moderato



Tchaikovsky: Variations on a Rococo Theme, Op.33

Schumman: Kinderszenen, Waldszenen, Papillons, Three Romances

Delightful. Like Mahler's on which I have just commented, this is subtle and straightforward. Wilhelm Kempff shows his lyricism with such expressive modulation.
Each piece is more beautiful than the other, in the Deutsche Grammophone CD with recordings from 1967, 1973 and 1974.
Although Three Romances (op.28) clearly contrasts with the other more situational works: Kinderszenen op.15, Waldszenen op.82, Papillons op.2. This one, I believe, does not necessarily try to evoke any particular sensations, but is, excuse my analogy, more discursive in nature, and not so descriptive.

Mahler: Des Knaben Wunderhorn

Wow. I am surprised how subtle, strong, simple and beautiful Mahler could sound. The way it is described is right: it just sounds as an honest interpretation.

This is on of the Great Recordings of the Century, in EMI Classics. Elisabeth Schwarzkopf (a:soprano), Dietrich Fischer-Dieskau (b:bariton, from which I already have other works), and George Szell conducting the London Symphony Orchestra, recorded live in 1968.

I have finally turned out to be a believer of vocal music.

1. Revelge, b


2. Das irdische Leben, a


3. Verlor'ne Müh, a+b


4. Rheinlegendchen, a


5. Der Tamboursg'sell, b


6. Der Schildwache Nachtlied, a+b


7. Wer hat dies Liedlein erdacht, b


8. Lob des hohen Verstandes, a


9. Des Antonius von Padua Fischpredigt


10. Lied des Verfolgten im Turm, a+b


11. Trost im Unglück, a+b


12. Wo die schönen Trompeten blasen, a+b

Bach: Das Wohltemperierte Claveir, Teil I (2)

This one I thought was too forcefully played. To much banging on the keyboardt to my taste. I enjoyed, notwithstanding, Prelude 15, and Prelude 21. I acknowledge it can be due to my lack of sensitivity to complex solo works, which require more on the part of the listener.
But today, BListener didn't appreciate it much.
Soloist: Leon Berben
Instrument: Copy after Couchet, by Willem Kroesbergen (1996)

Mozart: Violin Concertos 4-5

Just as in the other CD, this one, Brilliant's 2-17, has a nice interpretation of Violin Concertos 4 (KV218) and 5(KV 219). Concerto No. 4 I believe delivers, but nothing of excellence. On the contrary, Concerto No.5 has forceful themes, and, sometimes, harmony beyond Mozart's time.
The orchestration is clear and compact.
Director: Marturet
Orchestra: Concertgebouw Chamber Orchestra
Violin: Emmy Verhey

Brahms: Double Concerto in Am, Op. 102, Disc 2

What a lovely interpretation by David Ositrakh and Pierre Fournier. It is the second disc of the EMI Classics, double forte, that has Beethoven's Triple Concerto and Mozart's Violin Concerto No. 3.
Full of passages from where to make postcards, I loved especially the theme for the 3rd movement, Vivace non troppo - Poco meno allegro, directed by Alceo Galliera and the Philarmonia Orchestra. In the first movement, just after its first third, the intertwining of both soloists, just before the entrance of the orchestra is quite beautiful. It could well be one scene he wanted to capture while he was writing this next to a lake. It resembles to me those little tableclothes that are of picked cotton.
As for Prokofiev's Violin Concerto No. 2 in Gm, Op. 63, I can say what a graceful interpretation of a bland ouevre. With a comic British ending of the 2nd movement, I cannot say more.

Il Giardino Armonico: Artist Portrait

Well, for those that know Il Giardino Armonico, there is not much to say. Nice selection of works, well-known concertos from Vivaldi and Bach. Some small pieces, too.

But, for those that do not know Il Giardino Armonico, well... you are in for a surprise. Noise. Movement. You can listen to the player's gestures. You can even imagine their hair flying all over their face (not really sure about this ;-) ).
This group puts each instrument and interpreter under the spotlight. There can be historical evidence that suggests that this was in fact the way it was played, before music became an idol in itself. Therefore it is irreverent, gay (no reference to orientation), novel, controversial, abusive, imaginative, irreverent, and communicative.
No doubt worth listening to, but certainly no obligation to adopt. Listen to the plasticity of sounds, and the new dimension the works acquire.

Marco Uccellini (c.1603-1680)

Aria sopra "La Bergamasca"

Antonio Vivaldi (c.1678-1741)

Concerto in Fm, op.8/4 "l'Inverno"

Johann Sebastian Bach (c.1685-1750)

Brandenburg Concerto no.3 in G

Tarquino Merula (c.1594/5-1665)

Ciaccona

Giuseppe Torelli (c.1658-1709)

Concerto à quattro in Gm

Antonio Vivaldi

Concerto in C RV425

Johann Pachelbel (c.1653-1706)

Canon & Gigue in D

Antonio Vivaldi

Concerto in D RV564

Tomaso Albinoni (c.1671-1751)

Adagio (Oboe Concerto in Dm op.9 no.2

Antonio Vivaldi (c.1678-1741)

Concerto in Gm RV104 "La Notte"

Bach: Das Wohltemperierte Clavier, Teil I

Ah, how lovely !!
So much energy, sometimes seeming even furious. For Brilliant's CDII-1, Leon Berben plays the harpsichord/Cembalo.
Trying to describe each or my impressions to each, would be too bold, on my part. I will leave it like this.
Noteworthy is track 19, Praeludium for Prelude and Fugue #10 in Em, for its force and tempo. And Praeludia for Prelude and Fugue #1 and 3.

Bach: Violin Sonatas and Trio Sonatas

Sonata in Eminor BWV 1023 starts with a meditative, suggestive Prelude, worth noting.
The Sonata in G BWV 1021 shows a Bach more to what I had learned to expect, nice interweaving with the Basso continuo.
The ending of the Adagio from the Trio Sonata in G BWV 1039, couldn't but remind me of soul attempt to a new age Bach... confirming nihil novum sub sole.
Lively well rounded Trio Sonata in G, BWV 1038, especially the Vivace.