# What I've been listening to



## RebLem (Oct 6, 2007)

In the week ending Saturday, 13 OCT 2007, I listened to the following:

1, 2. 10/10 Soloists of the [Chicago Symphony] Orchestra III, Volume 21 of "From the Archives," a 2 CD set issued 4/2007 of performances of the Chicago Symphony recorded for radio broadcast. Recordings were made in Orchestra Hall, Chicago, except as noted. CD 1-a) Vivaldi: Concerto for 2 Trumpets in C Major, F. IX #1 (7:27)-Antonio Janigro, cond., Adolph "Bud" Herseth, Vincent Cichowicz, trumpets, June 6, 1966. b) Vivladi: Piccolo Concerto in C Major, F. VI #4 (10:08 )-Antonio Janigro, cond., Walfrid Kujala, piccolo, June 6, 1966. c) Mozart: Oboe Concerto in C Major, K. 271 (21:13)-Christoph Eschenbach, cond., Alex Klein, oboe, June 26, 1997 at Ravinia Festival, Highland Park, IL. d) Gould, Morton: Pavane from American Symphonette # 2 (3:09)-Morton Gould, cond., Adolph "Bud" Herseth, trumpet, January 29, 1966. e) Gould, Morton: Flute Concerto (27:37)---Sir Georg Solti, cond., Donald Peck, flute-recorded April 18 & 20, 1985. This was a world premiere performance of a work commissioned by Peck. f) Fisher/Gould: Chicago (song, here played without vocalist) (2:14)-Daniel Barenboim, cond., Larry Combs, clarinet, recorded September 21, 1991, Petrillo Music Shell, Grant Park, Chicago. CD 2-a) Korngold: Violin Concerto in D Major, Op. 35 (26:25)-Mariss Jansons, cond., Samuel Magad, violin-recorded February 20 & 26, 1994 b) Rozsa: Sinfonia Concertante for Violin, Cello, & Orchestra, Op. 29 (34:03) ---Jean Martinon, cond., Victor Aitay, violin, Frank Miller, cello, recorded September 22, 1966 at Mandel Hall, University of Chicago c) Verbal tribute to Frank Miller, principal cellist of the CSO, by Sir Georg Solti, on January 16, 1986, ten days after Miller's death. (2:05) d) Elgar: Nimrod, a variation from Variations on an original theme, Op. 36 aka the Enigma Variations (4:08 )-Sir Georg Solti, cond. (A Miller favorite, performed as part of the tribute to him). e) Boulez: Messagesquisse for seven cellos (8:24)-Daniel Barenboim, cond., John Sharp, Stephen Balderston, Philip Blum, Loren Brown, Richard Hirschl, Jonathan Pegis, & Gary Stucka, cellos. Recorded Sept 22, 1994.

Of special interest here is the musicianship of Frank Miller. He was a professional cellist from 1930-1985. a span of 55 years. Born in 1912, he studied at the Curtis Institute in Philadelphia, and joined the Philadelphia Orchestra under Leopold Stokowski in 1930 at age 18. In 1935, he went to the Minneapolis Symphony (now renamed the Minnesota Symphony) as principal cellist under Eugene Ormandy, and from 1940-1954 he was principal cellist in the NBC Symphony under Arturo Toscanini. This, of course, was particularly impressive, as the cello was Toscanini's own instrument, and Toscanini made a number of RCA recordings with him as soloist. After Miller did a 2 year stint with the Casals Festival in Puerto Rico, Fritz Reiner invited him to join the Chicago Symphony, and there he stayed, from 1959 until 1985, shortly before his death on January 6, 1986. From 1962-1984, he was also MD of the Evanston Symphony, a community symphony orchestra, in Evanston, IL, just north of Chicago. In 1964, he co-founded and became MD of the Savoyaires, an amateur North Shore Gilbert and Sullivan troupe. Although the Chicago Symphony gave him carte blanche to purchase at their expense any expensive old cello in the world, he preferred modern cellos. He came to Chicago with a 1941 Paul Pilat cello, and while in Chicago, he bought and played several cellos made by Fritz Reuter & Sons. All his instruments seem to have been modeled on old instruments made by Matteo Gofriller. Although he was briefly persuaded to play the 1731 Stradivarius "Braga" cello in the CSO's collection of old instruments, he went back to his modern cellos. It is a measure of the esteem in which Miller was held that January 16, 1986 is the only occasion in Sir Georg Solti's entire career as a conductor when he spoke to an audience before beginning a concert.

3. 10/10 Bach, J.S.: Cantatas 148 (18:22), 149 (19:06), 150 (15:21), 141 (18:09)-Helmuth Rilling, cond. usual suspects.-hanssler CD, Vol. 46 of CBE, recorded 1971-1984.

3. 10/10 Bach, J.S.: 16 organ works from Weimar, Kothen, & Leipzig periods (59:16)-S. 537, 539, 547, 573, 590, 691, 696-699, 701, 703, 704, 728, 735, & 753-Bine Katrine Bryndorf. organist. hanssler CD, Vol. 96 of CBE. Rec 1999.

4. 10/10 Beethoven: 3 CD Brilliant set of 3 sacred choral works. CD 1 & 2--Missa Solemnis in D Major, Op. 123 (87:51)-Carlo Maria Giulini, cond., London Phil Orch, New Philharmonia Chorus, Heather Harper, soprano, Janet Baker, mezzo-soprano, Robert Tear, tenor, Hans Sotin, bass.. CD 2-Mass in C Major, Op. 86 ( 48:13)---Carlo Maria Giulini, cond. New Philharmonia Orch & Chorus, Elly Ameling, soprano, Janet Baker, mezzo-soprano, Theo Altmeyer, tenor, Marius Rintzler, bass. CD 3-Christus am Oelberge (Christ on the Mount of Olives, Op 85 (53:52)---Helmuth Rilling, cond., Bach-Collegium Stuttgart, Gaechinger Kantorei, Stuttgart, Maria Venuti, Soprano (Seraph), Keith Lewis, tenor (Jesus), Michel Brodard, bass (Petrus)-CDs 1 & 2 recorded 1970, CD 3 in 1994. This whole set is well worth getting, but especially wonderful is the Missa Solemnis. It is way too slow, I must tell you, but Giulini's phrasing is absolutely enchantingly gorgeous throughout.

5,6,7,8,9,10,11-10/10 Schumann: Solo piano works, a collection-Vladimir Ashkenazy, piano---7 CD Decca set. CD 1-Arabesque, Op. 18 (6:29), Papillons, Op. 2 (15:13), Symphonic Etudes, Op. 13 (24:43) CD 2-Carnaval, Op. 9 (29:35), Humoreske, Op. 20 (25:28 ), Novellette, Op. 21/1 (4:52), Novellette, Op. 21/2 (5:44) CD 3---Waldszenen (Forest scenes), Op. 82 (21:44), Kinderszenen (Scenes from childhood), Op. 15 (19:13), Sonata # 1 in F sharp minor, Op. 11 (32:55) CD 4---Phantasiestucke, Op. 12 (27:19), Blumenstuck, Op. 19 (5:58 ), Davidsbundlertanze, Op. 6 (37:29) CD 5---Kreisleriana, Op. 16 (31:07), Novellette, Op. 21/8 (10:49), Sonata # 2 in G minor, Op. 22 (16:39) CD 6---"Abegg" Variations, Op. 1 (7:45), Fantasie in C major, Op. 17 (30:11), Faschingsschwank aus Wien, Op. 26 (19:58 ) CD 7---Bunte Blatter, Op. 99 (35:23), Nachtstucke, Op. 23 (17:55), 3 Romanzen, Op. 28 (14:04).

This Ashkenazy set is an excellent selection of most of Schumann's major works for solo piano. One notes an affecting talent for melody, and, in many pieces, a great aesthetic sense without the need for virtuoso display. This is evident from the very beginning, with his Op. 1, the "Abegg" Variations. But, of course, though many of these performances are lovely and affecting, they are not the be all and end all of Schumann discography. I found that Ashkenazy's Davidsbundlertanze, for example, is not as good as the Aeschbacher performance on KASP records I reviewed a number of weeks ago.


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## Manuel (Feb 1, 2007)

How is that you keep records of that?


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## ChamberNut (Jan 30, 2007)

RebLem said:


> In the week ending Saturday, 13 OCT 2007, I listened to the following:
> 
> 4. 10/10 Beethoven: 3 CD Brilliant set of 3 sacred choral works. CD 1 & 2--Missa Solemnis in D Major, Op. 123 (87:51)-Carlo Maria Giulini, cond., London Phil Orch, New Philharmonia Chorus, Heather Harper, soprano, Janet Baker, mezzo-soprano, Robert Tear, tenor, Hans Sotin, bass.. CD 2-Mass in C Major, Op. 86 ( 48:13)---Carlo Maria Giulini, cond. New Philharmonia Orch & Chorus, Elly Ameling, soprano, Janet Baker, mezzo-soprano, Theo Altmeyer, tenor, Marius Rintzler, bass. CD 3-Christus am Oelberge (Christ on the Mount of Olives, Op 85 (53:52)---Helmuth Rilling, cond., Bach-Collegium Stuttgart, Gaechinger Kantorei, Stuttgart, Maria Venuti, Soprano (Seraph), Keith Lewis, tenor (Jesus), Michel Brodard, bass (Petrus)-CDs 1 & 2 recorded 1970, CD 3 in 1994. This whole set is well worth getting, but especially wonderful is the Missa Solemnis. It is way too slow, I must tell you, but Giulini's phrasing is absolutely enchantingly gorgeous throughout.


I have this Brilliant CD set RebLem. I have not listened to the Missa Solemnis in awhile, so I should definitely pull this one out soon and give it some attention.


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## RebLem (Oct 6, 2007)

In the week ending Saturday, 20 OCT 2007, I listened to the following:

1, 2. 10/10 Bach, J.S.: Goldberg Variations, S. 988 (1'24:52)-Evgeni Koroliov, piano-2 hanssler CDs, Vol. 112 of CBE, recorded 4/1999. If you like Bach on the piano (I generally do not) these are very fine performances..

3, 4. 10/10 Bach, J.S.: Clavier Buchlein for Anna Magdalena Bach (1725) (2'25:44)-Michael Behringer, harpsichord, organ, and, in some pieces, Sibylla Rubens, soprano, and Johannes-Christoph Happel, baritone-2 hanssler CDs. Vol. 136 of CBE, recorded 10/1999. Many of the recordings which feature solo harpsichord music in this series are recorded at an unusually high level, and require toning down the volume controls. This set, perhaps because it also includes organ in some pieces and solo voices and a duet in some others, is an exception. Wonderful performances.

5, 6, 7. 10/10 Beethoven: The Late String Quartets-the Smetana Quartet (Jiri Novak, Violin 1, Lubomir Kostecky, Violin 2, Milan Skampa, viola, Antonin Kohout, cello), 3 CD Supraphon SU 3870. CD 1-SQ 15 in A Minor, Op 132 (1825) (42:57), rec c. 1967, SQ 11 in F Minor, Op. 95 (1810) (20:27), rec. c. 1962. CD 2-SQ 12 in E Flat Major, Op. 127 (1804) (33:51), rec. c. 1961, SQ 14 in C# Minor, Op. 131 (1826) (36:57), rec. 1971. CD 3-SQ 13 in B Flat Major, Op. 130 (1826), Grosse Fuge in B Flat Major, Op. 133 (1826), rec. c. 1965, SQ 16 in F Major, Op. 135 (1826) (24:29), rec. c. 1972. The Smetana Quartet chose to record the SQ 13 in its original form, with the Grosse Fuge as the finale and the traditional last movement allegro as an addendum. The Grosse Fuge by itself has a 15:47 timing, while the quartet in its traditional form is 36:46, with the last movement coming in at 9:39. The first 5 movements before the finale come in at 27:07.

I was very pleased to see these performances re-released, along with the Early and Middle Quartet boxes, and in their original form, so that people like me who got part of the cycle years ago don't have to duplicate to get the whole set. I bought the Early and Middle Quartets in this series in the 1980's, but the whole series was withdrawn from the market before I got around to buying the late quartets. Now, the whole series is once again available. These Smetana performances are full out romantic Beethoven. Unabashedly sentimental, they eschew the classicism of, for example, the Alban Berg Quartet cycle, which I feel is at the opposite extreme. This is particularly true of the SQ 15, the longest quartet, which has the same sort of slow tempos and care for lovingly shaped phrases I remember from the Giulini Missa Solemnis I reported on last week.

In the middle someplace, but still more classical than romantic, is the Gewandhaus Quartet cycle I reported on recently. And, in the Late Quartets, my favorite is that of the Yale Quartet, a little more MOR than the other three, but perhaps leaning just a tad to the romantic side. I have other sets, but these four are my favorite cycles of the late quartets, and except for the Yale Quartet, which has recorded only the late quartets, of the whole cycle of all the quartets, too.

5,6,7,8, 9. 10/10 Shostakovich: CDs 1-5 of a 10 CD Supraphon set of all the Shostakovich symphonies-Maxim Shostakovich, cond. Prague Symphony Orch, specifically Symphonies 1, 2, 3, 4, 5, 9, 10, 12, & 14. CD 1-Sym 1 in F Minor, Op 10 (1925) (32:37) |Sym. 12 in D Minor, Op. 112 "The Year 1917" (1961) (41:05), CD 2-Symphony 2 in B Major for chorus and orch, Op. 14 "To October" (1927, words by A Bezymensky) (18:26), with Prague Phil Choir |Sym 10 in E Minor, Op. 93 (1953) (53:45). CD 3-Sym 3 in E Flat Major for chorus and orch, Op. 20, (1929 with S Kirsanov) "The First of May" (29:21), with Prague Phil Choir |Sym 14 for soprano, bass, strings, and percussion, Op. 135 (1969) (49:11), with Marina Shaguch, soprano, Mikhail Ryssov, bass. CD 4-Sym 4 in C Minor, Op. 43 (1936) (64:58 ). CD 5-Sym 5 in D minor, Op. 47 (1937) (51:20) |Sym 9 in E Flat Major, Op. 70 (1945) (25:27).

I have seen a fair amount of critical commentary about these performances which express disappointment, and attribute the allegedly inferior quality of these performances to a decidedly second rate orchestra, not to the conductor. IMO, nothing could be further from the truth. These are superb performances by an orchestra that can hold its own with any in the world, even if it is Prague's second orchestra. The sound quality is up to modern standards, though it does lack just that last little oomph in the bass that distinguishes the Barshai Brilliant set.

Of particular note here, IMO, are the performances of Symphonies 1, 5, and 9. Maxim's take on # 1 is a great deal quieter, more contemplative, and less bombastic than that of most other conductors, but in their stead, he finds an appealing pastoral lyricism. The 9th has the usually ebuillient first movement, but much of the rest of the work seems fraught with portents of grim things to come which are absent from the performances of many others. And his 5th is altogether magnificent.

Maxim started on a cycle of the symphonies with Channel Classics in the early 90's, but it was never completed. I don't know how many CDs they issued, but I have four, and that may be all there is. One of them was a 5th, coupled with the Festive Overture. I listened to some of that performance, too, just for comparison, and while it has its merits, the Supraphon performance is, in every sense, to be preferred. It is tighter, with an almost Szell-like (and, from me, there can be no higher compliment) emphasis on rhythm and pulse, and this despite the fact that the Channel Classics CD, from 1990, was recorded with the LSO, an allegedly much better ensemble than the Prague. I dispute the accuracy of that conclusion, but there is no doubt that the LSO's reputation is better than that of the Prague Sym Orch. Timings are closely comparable, except in the Largo (3rd of 4 movements), which is 17:06 in the LSO recording, and a much faster 14:20 in the Prague performance.

10. 10/10 Tippett: Piano Sonata 1 (1937, rev. 1942) (19:18 ) |Piano Sonata 2 in one movement (1962) (11:46) |Piano Sonata 3 (1962) (22:30)-Peter Donohoe, piano-Naxos 8.557611. Let me quote the liner notes on the backside of the jewel box.

Tippett's four piano sonatas span a period of nearly 50 years and crystallize important facets of his musical development. Indeed, listeners might be forgiven for thinking his first 3 sonatas were written by 3 different composers, so different are their styles and musical exploration. The neo-classical Sonata 1 is, in tippet;s own words, "a young man's work, with all the exuberance of discovery and creation which that commonly implies." Sonata 2 was written immediately after Tippett's second opera _King Priam _and is similarly austere and angular. In contrast, Sonata 3 concentrates on the sonorous capabilities of the instrument opening up new vistas of harmony and color.

And that's about it. On tap for next week-obviously, the rest of the Shostakovich symphony cycle, and at least a beginning on the Friedrich Gulda set of the Beethoven piano sonatas.


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