What Classical Music Are You listening to Now? IV

[Master Jacques]

Well I too was looking forward to this set - I confess I don't know the symphonies, only some chamber music and of course the more popular orchestral stuff. I thought it must be the music itself, because it didn't engage me at all. Now I'm inclined to seek out your alternatives and give it another go.

Pianoman, Are you including the three Orchestral Suites in the "popular orchestral" category? If not, they offer a great way into the range of Enescu's work - from the late, intense romanticism of the First Suite, and the neo-classical Second, to the transcendental folk style of the Third, the Suite Villageoise. I am fond of Lawrence Foster's set of these:

https://www.amazon.co.uk/Enescu-Suites-Poème-romain-George/dp/B00000J7OJ

It's a good value set generally.

[silvestrione]

L v BEETHOVEN

PS No 32 in C min Op 111

Comparing

C Arrau
A B Michelangeli
B Roberts
C Rosen

And with this, time again for me to suspend temporarily further involvement in this forum and start studying for my Grade 7 Music Theory.

Best wishes to all. Stay safe and be happy!

Mario, are you still there?Yor're definitely getting smaller..
But I'd love to know which you preferred and why!

[pastoralguy]

Brahms. Symphony No.4

Simone Young conducting the Philharmoniker Hamburg. OEHMS Classics. SACD.

I picked this set up in the Lancaster Oxfam shop recently. The 4th and 3rd get a slightly more than lukewarm review from Rob Cowan in Gramophone but I think No.4 is pretty good.

[Mario]

Mario, are you still there?Yor're definitely getting smaller..
But I'd love to know which you preferred and why!

Silvestrione,

Greetings!

First movement

Where does one start? How does one even have the temerity to use our basic means of communication to assess the music of one of the greatest minds that has existed, in a work that stands as a testament to his artistic evolution and the most profoundest depths of his creativity? (Shakespeare was ungrammatical, so why can’t I be?)

If the phrase, “It’s better than it can ever be played” doesn’t apply to the rich tapestry of his final piano sonata, then what does it apply to? (Who first used that description BTW?)

Is it even possible to have just one reading, one performance that covers every aspect and every facet of the human condition and do this work justice? For me, this ranks alongside the Missa Solemnis as some of the very greatest music I have listened to.

His unwavering determination and rock-solid inner musical vision should be our guide to listening, and D F Tovey is once again correct when he says that Beethoven, notwithstanding his by now total deafness, knew exactly what he was doing. There are no mistakes in scoring here, as there are in moments of the Choral Symphony. Besides which, errors of calculation are not errors of imagination, which is why Tovey repeats, ad nauseam, that the pianist should simply play what is written and trust Beethoven unconditionally (a point he forcibly makes for the Hammerklavier). This work may challenge one’s sensibilities on a first hearing, as does the Grosse Fuge, but perseverance bears fruit of unimaginable beauty!

So, we seek drama in the first movement and sublimity and transcendence in the second – easy!

No gentle, friendly handshake greeting here to start, but a downward crash of a diminished seventh. No restraint or pulling back or (dangerous ground I’m on here), awfully-nice British self-restraint required. Vigorous, passionate and majestic (or maestoso) readings are demanded, which is why the opening of Bernard Roberts’ reading is disappointing. Michelangeli’s leap is so clipped, it almost misses the accent of the demisemiquaver. Shouldn’t the opening be arresting, a good old-fashioned slap-in-the-face “wake up you fool”? Arrau’s narrow volume levels (hardly a noticeable difference between p and pp, f and ff) become unsatisfying after repeated hearings. I am well aware that for some listeners, in-yer-face Beethoven is distasteful, but not to this Mediterranean colonial!

Not so Charles Rosen.

His opening bar indeed arrests the attention. One can tell this is the first step of a thousand-mile journey. One important point – I’ve just passed Grade 6 and have just embarked on Grade 7. Maybe I’ll discover the reason soon enough, but why aren’t rests very rarely given their full value? I know he has his supporters here, but Haitink is notorious for reducing the value of the full silent tutti bar in the 4^th symphony before launching into the ensuing Allegro.

(Ed: but we’re not talking about the 4^th symphony here but about the 32^nd PS. Stay on track please!)

Sorry.

Rosen perfectly executes the tied crotchet/double dotted quaver four times in bar 6 etc. And the alternating sfp/p G and Ab in the bass in bar 11 etc are unbearably tense in the lead up to the rumbling earthquake in the bass to come, before launching into the main Allegro. In the hands of others here, these moments seem to pass as if an unimportant bridge passage is being played.

Michelangeli’s impetuosity does him no good at all, for in the first statement of the main theme, the crucial staccato C, Eb and B♮ are played legato. A characteristic quirk which doesn’t convince, he robs the menace from the ensuing thunder.

Astonishingly, Roberts in this lead up to the proper first movement reigns supreme. Please note that bar 15 is pp throughout, the score clearly indicating that the crescendo should not start until bar 1 of the Allegro. I’ve always believed that properly controlled crescendos not reaching their full volume until the point marked ff in the score, are absolutely exhilarating. Karajan here was majestic, and I believe our past dear friend Hornspieler, who played under Silvestri with the (I think) Bournemouth SO, related how Silvestri insisted his orchestra didn’t get too loud too early. Beethoven’s judgment is perfect, and Roberts should be congratulated for not getting too loud too early. Nit-picking? Not by me!

In bar 34, Tovey asks for the pedal to be held through the rests (as Beethoven indicates). Roberts and Rosen subsume themselves into Beethoven’s mind and obey unerringly – not so Michelangeli, who firstly plays the forte Eb octave almost apologizingly, and then stops the pedal promptly on the second beat. Beethoven’s alternative convinces much more strongly.

(Ed: are you writing a book here, or a short posting? Please move on.)

Sorry.

I must refer to bars 39/40 here. Tovey says, inter alia,

“Within the limits of good playing, this outburst cannot be too violent. Incidentally, it fixes the tempo for the whole movement, especially in connection with the sudden piano and non-legato or finger-staccato of bar 41, which is one of the most dramatic details in all pianoforte music”.

Wow, these are Professor Sir Donald Francis Tovey’s words, not mine! But drat, double drat and even triple drat, while Arrau, Roberts and Rosen execute these perfectly, it is again Michelangeli who has to temper with this bar, introducing an unwritten and clearly spurious rallentando and accelerando in half a bar.

As the start of the proper Allegro in the first movement should have a controlled crescendo, so the ending should similarly show restraint in the ensuing diminuendo. Michelangeli misses the mysterious ending, by being too loud as late as bar 140 (there are only 2 bars left!). Rosen is fine, but it is again Roberts who captures the quiet mood that is such a perfect introduction to what is to come. Arrau must be discarded for reasons previously given.

[Mario]

Second movement

As a grade 6 Theory but a woeful grade 3 pianist, I can play the first twenty or so bars of the Arietta.

Oh joy, oh rapture unforeseen!

I am well aware of pianists on this forum who can sit down and played this work straight through without an increase in their heart beat. I am so envious, so jealous of all of you. I’m afraid, at the age of 73, I’ve left it all too late. But…

An inability to play such music does not inhibit a critique of performance of this wonderful sonata.

Beethoven here is at his simplest, most sublime stage. Such a simple swaying theme, gentle and lyrical in C Maj.

The sublime Arietta is sacrosanct – we are now treading on holy ground. Its variations require the lightest pianissimo tone without losing warmth. As Tovey again says, “No work of Beethoven is better calculated to convince the player of the wisdom of simply playing what is written there”.

Schiff in one of his masterclasses gives a moving explanation of this work, bridging the gap between earthly heroic defiance and transcendent sublimity.

I’m more on the side of Mitsuko Uchida and Igor Stravinsky regarding the resemblance to “cheerful boogie-woogie” than Sir András Schiff’s rather negative repudiation of it.

Notwithstanding the perfect execution by Michelangeli of this variation (which I love), it is too fast, with more than a hint of sforzando for each chord clearly marked pp throughout, resulting in a comic rendition of an altogether rather more serious variation of a forthcoming major portent. Roberts too is a shade too fast, but it is Rosen again, who captures the quintessential element of Beethoven’s humanity.

In the 9/16 variation at bar 64, we have a cloudy rendition of the tied semiquavers, not simple quavers to announce the change in harmony.

What follows in the leggiermente is, as Tovey points out, “no cloudy impressionism, but melody of the highest order. It will need your most perfect legato”. And further on, “You may search the whole of music in vain for a more sublime expanse of melody”.

I believe this passage to be an adamantine touchstone for a pianist to float above the keys, having “long ago in a galaxy far, far away…” learnt that fortissimo should be persuasive, rather than percussive.

All players are superb in this passage, but Roberts and especially Rosen once again, capture the mood perfectly. I wonder sometimes whether exact and precise execution is ALWAYS required. Recall here that Toscanini and Furtwängler were at opposite ends in the start of the Choral symphony, AT preferring precise execution of the sextuplets, WF opting for a cloudy sound. Rosen blurs his chords here at bar 64 onwards, almost as if Beethoven is having a personal conflict and grumbling to himself.

Arrau’s crystalline filigree notes above the treble clefs are very satisfactory.

There is a moment of rapt ecstasy at bar 114, where the hands, in a pianist who has long submerged his personality, his character, his pathetic and inadequate little idiosyncrasies and lay himself at the mercy of Beethoven’s genius, are over four and a half octaves apart, while the right hand is reaching for the summit in a long trill finishing on a D above the stave, the left hand meanwhile playing a sf B, below the F clef, the hands growing further apart. Arrau, Roberts and especially Rosen are admirable.

The work finishes on the barest atoms of the commonest sound in all music, a C Maj chord in root position.

So what?

Well, I could never live without Rosen, whose execution here is pretty nigh faultless, and Roberts too, whose honest forthright rendition never draws attention to itself and is always at Beethoven’s behest.

Arrau is disappointing and I find it difficult to see Michelangeli eye to eye.

Best wishes to anyone who hasn’t yet fallen asleep.

[LMcD]

Working my way at a stately pace through Christopher Hogwood's Double Decca of Handel's Opus 6 Concerti Grossi.

[smittims]

I've often regarded that as a safe all-round sound interpretation in contrast to the rather wilder Giardino Armonico which I bought on the same day. It's interesting that Hogwood recorded op. 6 with a American ensemble rather than the AAM.

Rather older territory for me today.

Rachmaninov: Rhapsody on a Theme of Paganini.
Julius Katchen, London Philharmonic Orchestra, Sir Adrian Boult. Ace of Clubs LP, ACL 65.
This was a extremely popular record in its day. I first heard it at school where we had a copy with the identical sleeve to the one I found in a second-hand shop two years ago. The sound is remarkably good for its age and the performance suggests that this was one of those happy sessions when everything went right. Sir Adrian recorded more Rachmaninov than many may think, including the second and third symphonies and a fine first concerto with Peter Katin.

[Stanfordian]

‘Staatskapelle Dresden – Otmar Suitner – Live in Leningrad 1963’
CD 1
Haydn
Symphony No. 88 in G major
Schubert
Symphony No. 9 in C major, D944 ‘The Great’
CD 2
Weber
Der Freischütz Overture
Wagner
Die Meistersinger von Nürnberg: Overture (Prelude to Act 1)
Staatskapelle Dresden / Otmar Suitner
Recorded Live for radio broadcast - January 1963, Great Hall of the Philharmonic, Leningrad
Edition Staatskapelle Dresden, Vol. 47
Profil Hänssler, 2 CD set

[pastoralguy]

…
Julius Katchen…

By coincidence, I’d come here to mention a cd I bought from my local Oxfam shop for £4.99, (a lot more than I usually pay for a charity shop cd unless it’s something out of the ordinary).

Mozart. Piano Concertos No.13 K.415 and No.20, K.466

Julius Katchen, piano. The New Symphony Orchestra of London conducted by Peter Maag.

It’s on Decca’s Eloquence label, a label I’m quite fond of. I’ve not listened to the recording yet but both concertos were poorly reviewed in the 1956 Gramophone. This is compounded by another American review in a later Gramophone where it’s equally slated. Which makes me wonder why DECCA Eloquence bothered to release a recording that was so poorly regarded. Maybe, when I listen, I’ll wonder what the fuss was about but it does make one wonder.

Well, I’ve listened to both concertos now and whilst it’s not up to the perception that artists like Uchida and Periahia bring to this music it’s still, imvho, a convincing performance of both works. Mind you, in the 13th concerto I agree with the critic who comments that the piano sounds like an upright!

[Barbirollians]

Verdi Heroines - Gheorghiu/Chailly - she really lived up to the hype in the late 1990s early 2000s.

[smittims]

Some critics just don't like some performers, pastoralguy. Leonard Bernstein rarely had a good review in the Gramophone, and the Penguin Guide were quite dismissive of the Amadeus Quartet. I've always made up my own mind. I remember the Gramophone dismissing the Rostropovich Eugene Onegin in a tirade of disparagement. I heard some of it on Radio 3 (in those days they frequently played complete new recordings) , liked it, bought it and loved it.

I've always admired Julius Katchen and found every one of his recordings rewarding.

[gradus]

Second movement

As a grade 6 Theory but a woeful grade 3 pianist, I can play the first twenty or so bars of the Arietta.

Oh joy, oh rapture unforeseen!

I am well aware of pianists on this forum who can sit down and played this work straight through without an increase in their heart beat. I am so envious, so jealous of all of you. I’m afraid, at the age of 73, I’ve left it all too late. But…

An inability to play such music does not inhibit a critique of performance of this wonderful sonata.

Beethoven here is at his simplest, most sublime stage. Such a simple swaying theme, gentle and lyrical in C Maj.

The sublime Arietta is sacrosanct – we are now treading on holy ground. Its variations require the lightest pianissimo tone without losing warmth. As Tovey again says, “No work of Beethoven is better calculated to convince the player of the wisdom of simply playing what is written there”.

Schiff in one of his masterclasses gives a moving explanation of this work, bridging the gap between earthly heroic defiance and transcendent sublimity.

I’m more on the side of Mitsuko Uchida and Igor Stravinsky regarding the resemblance to “cheerful boogie-woogie” than Sir András Schiff’s rather negative repudiation of it.

Notwithstanding the perfect execution by Michelangeli of this variation (which I love), it is too fast, with more than a hint of sforzando for each chord clearly marked pp throughout, resulting in a comic rendition of an altogether rather more serious variation of a forthcoming major portent. Roberts too is a shade too fast, but it is Rosen again, who captures the quintessential element of Beethoven’s humanity.

In the 9/16 variation at bar 64, we have a cloudy rendition of the tied semiquavers, not simple quavers to announce the change in harmony.

What follows in the leggiermente is, as Tovey points out, “no cloudy impressionism, but melody of the highest order. It will need your most perfect legato”. And further on, “You may search the whole of music in vain for a more sublime expanse of melody”.

I believe this passage to be an adamantine touchstone for a pianist to float above the keys, having “long ago in a galaxy far, far away…” learnt that fortissimo should be persuasive, rather than percussive.

All players are superb in this passage, but Roberts and especially Rosen once again, capture the mood perfectly. I wonder sometimes whether exact and precise execution is ALWAYS required. Recall here that Toscanini and Furtwängler were at opposite ends in the start of the Choral symphony, AT preferring precise execution of the sextuplets, WF opting for a cloudy sound. Rosen blurs his chords here at bar 64 onwards, almost as if Beethoven is having a personal conflict and grumbling to himself.

Arrau’s crystalline filigree notes above the treble clefs are very satisfactory.

There is a moment of rapt ecstasy at bar 114, where the hands, in a pianist who has long submerged his personality, his character, his pathetic and inadequate little idiosyncrasies and lay himself at the mercy of Beethoven’s genius, are over four and a half octaves apart, while the right hand is reaching for the summit in a long trill finishing on a D above the stave, the left hand meanwhile playing a sf B, below the F clef, the hands growing further apart. Arrau, Roberts and especially Rosen are admirable.

The work finishes on the barest atoms of the commonest sound in all music, a C Maj chord in root position.

So what?

Well, I could never live without Rosen, whose execution here is pretty nigh faultless, and Roberts too, whose honest forthright rendition never draws attention to itself and is always at Beethoven’s behest.

Arrau is disappointing and I find it difficult to see Michelangeli eye to eye.

Best wishes to anyone who hasn’t yet fallen asleep.

Thanks Mario for your analysis of one of my favourite pieces. I'm afraid that I choose between versions merely on the basis that I like or dislike the performance and sometimes find that I like most that which others disdain eg Armin Jordan's recording of Schumann sym 1.

[smittims]

Sibelius, Symphony no.2. The Philharmonia Orchestra, Paul Kletzki, Columbia 33CX 1332. I hadn't heard this for years and was delighted to find how thrilling it is, with the Philharmonia in vintage style; and a very audible Dennis Brain. I think it even outshines Herbert's 1960 version, and is worthy to stand alongside what would have been its rival at the time , Anthony Collins on Decca (LXT 2815).

[Stanfordian]

Sabine Devieilhe – 'Bach & Handel'
J.S. Bach
Sacred Song – Mein Jesu! was für Seelenweh, BWV 487
Sinfonia to Church Cantata – Wir müssen durch viel Trübsal, BWV 146
Church Cantata – Mein Herze schwimmt im Blut, BWV 199
Church Cantata – Jauchzet Gott in allen Landen, BWV 51
Handel
Arias from oratorio 'Brockes Passion', HWV 48:
Ach Gott! Mein Sohn… Soll mein Kind
Hier erstarrt mein Herz und Blut… O Anblick
Arias from opera 'Giulio Cesare in Egitto', HWV 17:
Che sento? O dio!... Se pietà di me non senti
Piangerò la sorte mia
Aria from oratorio 'Il Trionfo del Tempo e del Disinganno', HWV 46a:
Pure del cielo intelligenze eterne… Tu del Ciel ministro eletto
Sabine Devieilhe (soprano)
Pygmalion / Raphaël Pichon (direction)
with Stéphane Degout (baritone) & Thomas Dunford (theorbo)
Recorded 2020 Temple du St-Esprit, Paris
Erato, CD

[richardfinegold]

Brahms. Symphony No.4

Simone Young conducting the Philharmoniker Hamburg. OEHMS Classics. SACD.

I picked this set up in the Lancaster Oxfam shop recently. The 4th and 3rd get a slightly more than lukewarm review from Rob Cowan in Gramophone but I think No.4 is pretty good.

I bought the Fourth when it was issued and liked it, but I thought the 8 and 9 recordings lacked an interpretive profile.