Ah! What an amazing listening! Wispelwey plays so wonderfully: precise, emotive, subtle. I have heard (and posted before) on Casal's and Jaap ter Linden. Although both are recognized as good, I did not find either to appealing to my taste. I can also say that both have a similar free emotional style.
I look forward to listening more from Wispelwey.
Recording: January 1998
Baroque cello: Barak Norman, 1710
Violoncello piccolo (s.XVIII)
This disc is amazing too.
It plays a very nice sonata with its intended dead (as in latin) instrument, and its contemporary companion. These are the arpeggione a fretted, bowed, 6-string instrument, and the famous pianoforte which evolved into modern pianos.
I have to say that Rostropovich's interpretation is fantastic (as noted in earlier posts), but the charm of this historic recording is amazing. Very hard to find, indeed.
Along with the arpeggione sonata come the variations for flute and pianoforte "Trockne Blumen". I will omit comments on it, as it did not impress me.
Constructors:
Arpeggione: Anton Mitteis, mid s.XIX
Flute: Matheus Schrafft, 1830
Fortepiano: Joseph Brodmann, Vienna ca.1810
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Sonata für Arpeggione | D.821 | Klaus Storek, arpeggione Alfons Kontarsky, fortepiano | ||
| Trockne Blumen | D.802 | Hans-Martin Linde, flute Alfons Kontarsky, fortepiano |
These are too very beautiful. Obviously we can mention the more obvious Badinerie of the OS 2, but I have to mention especially Track 8 the Sinfonia from Cantata 29. The play is beautiful, and the theme is deep, in the dimension of inter-instrument (timbral?) counterpoint.
La Stravaganza Köln,
Andrew Manze
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Ouverture No.1 for 2 oboes, bassoon, strings and continuo | C | BWV 1066 | ||
| Sinfonia from Cantata BWV 29 'Wir danken dir, Gott, wir danken dir' | Christoph Lehmann, Organ | amazingly !! | ||
| Ouverture No. 2 | Bm | BWV 1067 | Masahiro Arita, flauta traverso (9-15) |
Breathtaking! Absolutely outstanding! (Knowing me, I think I have to be in specially receptive mood now)
Although I have heard them many many times, (and I have heard this precise recording before, Brilliant CDI-2) it still sounds so new. Such a compelling tempo, crystal clear distinction of instruments. For example in the Allegro of BWV 1049, I just noticed some virtuosissimi violin scales that I had not distinguished in any other recording.
Concerto no. 4 G BWV 1049
Rémy Baudet, violin
Pieter-Jan Belder, Saskia Coolen, recorder
Concerto no. 5 D BWV 1050
Wilbert Hazelzet, traverso
Rémy Baudet, violin
Pieter-Jan Belder, harpsichord
Concerto no. 6 B flat BWV 1051
Staas Swierstra, Sayuri Yamagata, viola
Mieneke van der Velden, Johannes Boer, viola da gamba
Lucia Swarts, cello
Pieter-Jan Belder, conducts Musica Amphion.
What an interesting 1968 recording of the famous Canon by Pachelbel. So sober and precise interpretation. It sublimes the piece away from the usual "cheesy" interpretations that we all have in mind about it.
The other pieces by Pachelbel (1653-1706) are rather blunt, from "dull sweetness". There is really no conflict, and the themes though nice are just like a breath.
Fasch in contrast aspires to more. He has some tempo contrast, more interesting themes. And although these pieces are quite simple, they are nice.
Overall, an interesting CD to have for light listening.
Orchestre de chambre Jean-François Paillard,
JF Paillard,
Maurice André, trumpet
Pierre Pierlot, Jacques Chambon, oboe
Very much like the previous CD 4 in Vol. 1, I think this was much less expressive than what we would expect from Mozart. Yes, it is joyful, but I think it is too courtly. To me it seems that these were just charged work, and delivered.
Mozart Akademie Amsterdam
Jaap ter Linden, conductor
Concerto no. 1 in F BWV 1046. Did not impress me much. I even doubted it was a Brandenburgische Konzert LOL.
Frank de Bruine, oboe
Rémy Baudet, violin piccolo
Teunis van der Zwart, Erwin Wieringa, horn
Concerto no. 2 in F BWV 1047
William Wroth, trumpet
Frank de Bruine, oboe
Pieter-Jan Belder, recorder
Rémy Baudet, violin
Concerto no. 3 in G BWV 1048
Now we talk. I again have to say I have fallen for small orchestras. The intimacy achieved with each instrument. Beautiful Brandenburg Concerto #3.
Rémy Baudet, Sayuri Yamagata, Irmgard Schaller, violin
Staas Swierstra, Marten Boeken, Mariëtte Holtrop, viola
Rainer Zipperling, Richte van der Meer, Albert Brüggen, cello
Here distinct intentions are perceived. Military fanfares, playful trivialities as in Symphony 22 Presto assai.
I would say a little bit pretentious lacking substance, but certainly evolving towards the usual (for us these days) Mozart music.
Mozart Akademie Amsterdam
Jaap ter Linden, conductor
Symphony 20 D KV 133
Symphony 21 A KV 134
Symphony 22 C KV 162
Symphony 23 D KV 181
More settled, with complete mozart sound. Especially, track 10 Symphony 16-Andante sounds so much like Eine kleine Nachtmusik.
I am now at a stage, where I start recognizing regularities within an author, and recognizing orchestration subtlities. There will be a time, where I can recognize cross-author theme reuse, for instance.
Mozart Akademie Amsterdam,
Jaap ter Linden, conductor
Symphony 14 A KV 114
Symphony 15 G KV 124
Symphony 16 C KV 128
Symphony 17 G KV 129
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
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.)
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
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 >-( )
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.
Neither caught my ear.
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.
| 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 |
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
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]
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.
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)
