Ernest Ansermet A la Carte

No. 399 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast399

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Original Post - TalkClassical, Blogger

Our final two Friday podcasts for 2022 (and conclusion to our long-running series) aren’t as much about new material as they are feeding ongoing curation initiatives we have undertaken for the past few years.

This penultimate montage is part of our A La Carte series that repackages old montages, in this case a 2019 odd-looking Vinyl’s Revenge post that we more aptly titles “Tape Deck’s Revenge” as it featured two old London VIVA cassette releases by Swiss conductor Ernest Ansermet. The VIVA series was a b udget re-issue platform at a time where digital releases we beginning to invade the shelves, often displacing these excellent recordings, which did merit reissue. The format of these reissues was both cassette and vinyl, not CD.

The first cassette on the original montage was packaging J.S Bach’s suites nos. 2 and 3 with a pair of filler tracks from his cantatas. Ansermet, at the time of the original release, also issued a pair of albums of Bach Cantatas, which London/Decca later packaged with this disk into a 2 CD Bach anthology by Ansermet.

The montage inserts Cantata 130 between the original A and B sides of the VIVA cassette.

I think you will (still) love this music too.

A LA CARTE #21- Beethoven: The Seven Sonatas for Cello & Piano, Vol. 2

 

We are repurposing the music from a Once Upon the Internet post of November 18, 2014 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

As we repurpose some tracks from this 2014 Once Upon the Internet share, I have planned two A La Carte playlists that will revisit the two Beethoven cello sonatas performed by Mr. Markevitch with pianist Daniel Spiegelberg.

In 1991, the pair recorded the complete Beethoven cello sonatas for the Swiss label Gallo. These were released under two separate CDs, thus volumes 1 and 2. This week’s share is Volume 2 consisting of four sonatas – numbers 1, 2 and 5 and the op. 17 (which is an arrangement of his horn sonata)

Happy listening!

Ludwig van BEETHOVEN (1770-1827) 

Cello Sonata No.5 in D Major, Op 102 No 2

[NEW]

Sonata F Major for Cello and Piano, Op 17

[OUTI-31]

Cello Sonata No.1 in F Major, Op 5 No 1

Cello Sonata No.2 in G Major, Op 5 No 2

[NEW]

Daniel Spiegelberg, Piano

Dimitry Markevitch, Cello

GALLO CD-673

YouTube - https://youtube.com/playlist?list=OLAK5uy_kUTbdN_z8Uzv8GVXKebi2rOV0JJAjafcU

Internet Archive - https://archive.org/details/alc-21-beethoven-the-seven-sonata

A LA CARTE #19 - Beethoven: The Seven Sonatas for Cello & Piano, Vol. 1

 

We are repurposing the music from a Once Upon the Internet post of November 18, 2014 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

As we repurpose some tracks from this 2014 Once Upon the Internet share, I have planned two A La Carte playlists that will revisit the two Beethoven cello sonatas performed by Mr. Markevitch with pianist Daniel Spiegelberg.

In 1991, the pair recorded the complete Beethoven cello sonatas for the Swiss label Gallo. These were released under two separate CDs, thus volumes 1 and 2. This week’s share is Volume 1 consisting of three sonatas – numbers 3 and 4 and the op. 64 (which is an arrangement of his trio for vioin, viola and cello, op. 3)

Ludwig van BEETHOVEN (1770-1827)

Sonata for cello and piano No. 3 in A major, Op. 69 [NEW]

Sonata for cello and piano in G Major, op. 64 (after Trio, Op. 3) [OUTI-xx]

Sonata for cello and piano No. 4 in C major, Op. 102, No. 1 [NEW]

DImitry Markevitch, cello

Daniel Spiegelberg, piano

GALLO CD-672

YouTube – https://youtube.com/playlist?list=OLAK5uy_lBuyJynp05jLPMrbIIvscR3Ehba3JoeCg

Internet Archive - https://archive.org/details/alc-19

A LA CARTE #18 - Haydn: The London Symphonies (Nos. 99, 101, 103)

  

We are repurposing the music from a Once Upon the Internet post of June 13, 2017 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

This is the second of two posts repurposing Haydn symphony recordings from the 1950's featuring Hermann Scherchen and Viennese orchestras in studio recordings. Symphonies no. 99 and 101 are part of another Once Upon the Internet I posted in 2018.

You will find the complete collection of the twelve London on the Italian website LiberMusica.

Happy listening!

 Joseph HAYDN (1732-1809)

Symphony No. 99 in E-Flat Major, Hob.I:99 

Symphony No. 101 in D Major, Hob.I:101 «The Clock »

Wiener Staatsopernorchester

Hermann Scherchen, conducting

[OUTI-61]

Symphony No.103 in E-Flat Major ('Drum Roll'), Hob.I:103

Wiener Symphoniker

Hermann Scherchen, conducting

[OUTI-57]

Internet Archive - https://archive.org/details/01-alc-18-haydn-the-london-sympho

A LA CARTE #17 - Haydn: The London Symphonies (Nos. 93, 95, 97)

 

We are repurposing the music from a Once Upon the Internet post of June 13, 2017 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

This is the first of two posts repurposing Haydn symphony recordings from the 1950's featuring Hermann Scherchen and Viennese orchestras in studio recordings. Symphony no. 93 is part of another Once Upon the Internet I posted in 2018.

You will find the complete collection of the twelve London on the Italian website LiberMusica.

Inserted here is a concert recording of Haydn's 95th with the Montreal Symphony from 2016..

Happy listening!

 

Joseph HAYDN (1732-1809)

Symphony No.93 in D, Hob.I:93

Wiener Staatsopernorchester

Hermann Scherchen, conducting

[OUTI-61]

 

Symphony No.95 in C-, Hob.I:95

Orchestre Symphonique de Montréal

Gunther Herbig, conducting

[OUTI-48]

Internet Archive - https://archive.org/details/01-alc-17-haydn-the-london-sympho

Hugh Bean (1929 – 2003)

 

No. 388 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast388

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Original posts: TalkClassical; Blogger

This week’s new podcast is part of our A la Carte series, and extends an October 2015 Tuesday post dedicated to Leopold Stokowski’s 1966 recording  of Vivaldi’s Four Seasons by adding some more works featuring the soloist from that session, Hugh Bean.

Hugh Bean attended the Royal College of Music where at age 17 he was awarded the principal prize for violin. A further year's study with André Gertler at the Brussels Conservatory on a Boise Foundation travelling award brought him a double first prize for solo and chamber music playing, and in 1951, he was awarded second place in the Carl Flesch International Violin Competition.[

He was appointed professor of violin at the RCM at the age of 24 and became a freelance London orchestral player, until he was made sub-leader and then leader (1956–67) of the Philharmonia Orchestra. He was co-leader of the BBC Symphony Orchestra from 1967 to 1969. In 1989, he returned to the Philharmonia Orchestra as co-leader, and became Leader Emeritus.

Hugh Bean performed concertos with many leading orchestras, both in the UK and abroad. With the Philharmonia Orchestra he recorded Vivaldi's The Four Seasons with Leopold Stokowski, and Vaughan Williams' The Lark Ascending with Sir Adrian Boult (featured on today’s playlist. He made many recordings of chamber music with the Music Group of London, and together they toured extensively.

I think you will (still) love this music too.

“Otto Klemperer A la Carte

 

No. 387 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast387

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Original posts: TalkClassical; Blogger

As may has five Tuesday, my A la Carte post doubles as our quarterly Tuesday podcast. For the occasion, I am extending my Vinyl’s Revenge share from 2016 by adding a Mozart symphony, which in turn uses one of the three symphonies we had featured in our 2011 post called “Mozart’s European Vacation”. Here’s what I wrote then about the Prague symphony:

Mozart is often said to have had a special relationship with the city of Prague and its people. Mozart is claimed to have said, "Meine Prager verstehen mich" ("My Praguers understand me"), a saying which became famous in the Bohemian lands.

Mozart's opera The Marriage of Figaro, which premiered in Vienna, was produced in late 1786 in Prague with tremendous success. The orchestra and some affiliated music lovers funded a personal visit by Mozart so he could hear the production. Mozart arrived on 11 January 1787 and was feted everywhere. On 19 January he gave an "academy" (that is, a concert for his own profit) at which the “Prague” Symphony in D major was premiered.

Again, this performance features Otto Klemperer and the Philharmonia Orchestra

I think you will (still) love this music too

Carl Nielsen A la Carte

No. 386 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast386

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Original posts: TalkClassical; Blogger

With this A la Carte poat, we conclude our week-long look on the #FYLP podcast at the symphonies of Carl Nielsen with two of my favourites – the second and fourth, performed here by Herbert Blomstedt but this time in an earlier Nielsen cycle he recorded for EMI with the Danish Radio Symphony Orchestra.

Herbert Blomstedt’s first Nielsen Symphony cycle has made the rounds of reissues; all of these performances were surpassed, by and large, by his San Francisco remakes which feature better playing, better sonics, and generally a bolder and livelier guiding hand from the podium. Still, there are things here to enjoy.

The original post added a pair of short works to the Fourth. Today’s share expands by adding the second symphony, nicknames “the four temperaments”. Nielsen himself describes the background to the symphony in a programme note for a performance at the Konsertföreningen (Concert Society) in Stockholm shortly before he died in 1931.

I had the idea for ‘The Four Temperaments’ many years ago at a country inn in Zealand. On the wall of the room where I was drinking a glass of beer with my wife and some friends hung an extremely comical coloured picture, divided into four sections in which ‘the Temperaments’ were represented and furnished with titles: ‘The Choleric’, ‘The Sanguine’, ‘The Melancholic’ and ‘The Phlegmatic’. The Choleric was on horseback. He had a long sword in his hand, which he was wielding fiercely in thin air; his eyes were bulging out of his head, his hair streamed wildly around his face, which was so distorted by rage and diabolical hate that I could not help bursting out laughing. The other three pictures were in the same style, and my friends and I were heartily amused by the naivety of the pictures, their exaggerated expression and their comic earnestness. But how strangely things can sometimes turn out! I, who had laughed aloud and mockingly at these pictures, returned constantly to them in my thoughts, and one fine day I realized that these shoddy pictures still contained a kind of core or idea and – just think! – even a musical undercurrent! Some time later, then, I began to work out the first movement of a symphony, but I had to be careful that it did not fence in the empty air, and I hoped of course that my listeners would not laugh so that the irony of fate would smite my soul.

I think you will (still) love this music too

A LA CARTE #13 - Mendelssohn in London (Alternate Programme, M-273A)

 

We are repurposing the music from a Friday Blog and Podcast post of March 9, 2018 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

Don't you wish sometimes you could have a do-over, a Mulligan?

As we inch closer to our 400th ITYWLTMT Montage, I find there are quite a few playlists I wish I coukd do over, so that they would fit my overall programming better.Today is the first time I do just that, revisiting our montage #273.

As I stated  then, the United Kingdom and the city of London in particular is the home of several world-class ensembles, from chamber orchestras to large-scale Symphonies. Three of these are featured in today’s playlist which features three of Felix Mendelssohn’s ymphonic works.

Of the original montage, I kept Michael Rabin and the Philharmonia in Mendelssohn's E Minor violin concerto. The remaining works are symphonies.

To open the eponymous "London Festival Orchestra" performs Mendelssohn's first String symphony.From the same LSO/Abbado Mendelsohn symphony cycle I reached into in the original montage, I switched he third symphony with the first. As filler, I close with  an orcgestra setting of the Scherzo from the Octet, which Mendelssohn had envisaged originally as the scherzo for that same symphony.

Happy listening!

Felix MENDELSSOHN-BARTHOLDY (1809-1847)

Sinfonia No.1 in C, for string orchestra , S1 no. 1

London Festival Orchestra

Ross People, conducting

[NEW]

Violin Concerto in E Minor, Op.64

Michael Rabin, Violin

Philharmonia Orchestra 

Adrian Boult, conducting

[M-273]

Symphony No.1 in C Minor, Op.11

Octet in E flat, Op.20 - III. Scherzo (Arr. for orchestra by the composer)

London Symphony Orchestra

Claudio Abbado, conducting

[NEW]

Archive Page - https://archive.org/details/alc-13

Lorin Maazel “A la Carte”

No. 383 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast383

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Original posts: TalkClassical; Blogger

 In the past few years, I have programmed Berlioz’s Symphonie Fantastique to mark “4-20” *which happens to have been last Wednesday) and Mahler’s Song of the Earth for Earth Day (today). As it turns out, we posted the Mahler song cycle a few days ago, and today (as part of this A la Carte post), it’s time for the Berlioz.

As I stated in the original post, the work itself doesn't need introduction, as its back-story, and programme, have been well documented. What we have here is a straight-forward, honest and for Maazel not too pretentious. Considering that the Cleveland Orchestra isn't a French repertoire orchestra per se, it is quite enjoyable!

To fill the montage, I added another Maazel CBS recording from his tenure in Cleveland. Theearly digital album featured three Richard Strauss tone poems, and I thought matching the Berlioz work to Strauss’ Death and Transfiguration was a fitting choice. Hope you agree!

I think you will (still) love this music too.

A LA CARTE #11- Ton Koopman Plays J. S. Bach (EXTENDED)

We are repurposing the music from a Vinyl's Revenge post of March 10, 2015 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

As we have done a few times before under this series, I am extending an old Vinyl’s Revenge post that was well-short of 60 minutes by adding like-material. Here, I added a few Koopman Bach recordings I found off YouTube.

Enjoy!

Johann Sebastian BACH (1685-1750)

All works feature Ton Koopman, organ

Prelude and Fugue in C  Minor, BWV 546

[J. Gabler organ, Basilika St. Martin, Weingarten]

[NEW]

Toccata and Fugue in D-, BWV565

Toccata and Fugue in D-, BWV538 ('Dorian')

Toccata, Adagio and Fugue in C, BWV564

Toccata and Fugue in F, BWV540

[Rudolf Garrels organ, Maassluis, Grote Kerk]

[VR-07]

Vater unser im Himmelreich, BWV 683

Wer nur den lieben Gott lässt walten, BWV 691

[Silbermann Organ, Leipzig]

[NEW]

Concerto for solo organ No. 3 in C major (after Vivaldi Op. 7ii/5, RV 208), BWV 594

[Arp Schnitger's baroque organ in Groningen, the Netherlands.]

[NEW]

Internet Archive - https://archive.org/details/alc-11-ton-koopman-plays-j.-s.-bac

A LA CARTE #10- Richard Strauss à la carte

We are repurposing the music from a Vinyl's Revenge post of February 12, 2019 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page. The following notes are an update.

Today’s podcast builds on the Karajan recording of the Alpine Symphony with another Strauss/Karajan recording, this one of the Metamorphosen from 1969.

By 1944, Strauss was in poor health and needed to visit the Swiss spa at Baden near Zürich. But he was unable to get the Nazi government's permission to travel abroad. Karl Böhm, Paul Sacher and Willi Schuh came up with a plan to get the travel permit: a commission from Sacher and invitation to the premiere in Zurich. The commission was made in a letter by Böhm on August 28, 1944, for a "suite for strings". Strauss replied that he had been working for some time on an adagio for 11 strings; In fact, his early work on Metamorphosen was for a septet (2 violins, 2 violas, 2 cellos and a bass). The starting date for the score is given as 13 March 1945, which suggests that the destruction of the Vienna opera house the previous day gave Strauss the impetus to finish the work and draw together his previous sketches in just one month (finished on 12 April 1945).

Enjoy!

Richard STRAUSS (1864-1949)

Metamorphosen, for 23 solo strings, Op.142, TrV290

[NEW]

Eine Alpensinfonie, Op.64, TrV233

[VR-47]

Berliner Philharmoniker

Herbert von Karajan, conducting

 

Internet Archive - https://archive.org/details/alc-10-richard-strauss-a-la-carte

A LA CARTE #9- Classical Symphonies à la carte

We are repurposing the music from a Vinyl's Revenge post of July 5, 2018 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure.  The following notes are an update.

Over the coming months, we will be repurposing several of the Haydn symphonies contained in a pair of Once Upon the Internet posts featuring Herrmann Scherchen. This first post in the series combines a selection from a 2011 “Musical Links” post from our Friday series we called “Mozart’s EuropeanVacation” and a third hitherto unpublished selection – Schubert’s Second symphony from Riccardo Muti’s Schubert cycles with the Vienna Philharmonic.

Enjoy!

Wolfgang Amadeus MOZART (1756-1791)

Symfony no. 31 en in D Major, K. 297  "Paris"

Mozart Akademie Amsterdam

Jaap Ter Linden, conducting

[WoO 110729]

Joseph HAYDN (1732-1809)

Symphony No. 100 in G Major, Hob.I:100 « Military »

Wiener Symphoniker

Hermann Scherchen, conducting

[OUTI-61]

Franz SCHUBERT (1797-1828)

Symphony No.2 in B Flat Major, D.125

Wiener Philharmoniker

Riccardo Muti, conducting

[NEW]

Internet Archive - https://archive.org/details/alc-09

Salvatore Accardo (*1941)

No. 377 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/377-salvatore-accardo-1941-alc

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Original posts: TalkClassical; Blogger

Today’s A la Carte montage is fashioned around Salvatore Accardo’s visit with the Montreal Symphony in May of 1986, which we featured on a past Once Upon the Internet post.

Salvatore Accardo was born in Turin in a family coming from the South of Italy: his father Vincenzo, artist engraver of cameos was passionate with music and his mother was a primary school teacher. At 3 he asked for a violin and began to play to ear, at 5 he began his studies in Naples with the musician and pedagogue Luigi D’Ambrosio, later he entered the Naples Conservatorio of San Pietro a Majella where at 13 he graduated  full marks playing for the first time Paganini’s Caprices, earning the first prize of the 1958 Paganini Competition in Genoa. 

Admitted ad honorem at the Accademia Chigiana of Siena, Accardo studied there with Yvonne Astruc, former pupil and assistent of George Enescu, starting to be friends with his classmates: Claudio Abbado, Daniel Barenboim, Zubin Mehta, Charles Dutoit, and Maurizio Pollini.

 He was a leader of "I Musici" (1972-1977) and has long been associated with Italian and European ensembles; he founded the Settimane Musicali Internazionali in Naples, the Accardo Quartet in 1992 and he was one of the founders of the Walter Stauffer Academy in 1986. and the Cremona String Festival in 1971. In 1996, he re-founded the Orchestra da Camera Italiana (O.C.I.).

He has an extensive discography of almost 50 recordings on Philips, DG, EMI, Sony Classical, Foné, Dynamic, and Warner-Fonit. Part of today’s montage includes selections from the Italian RCA release "Salvatore Accardo’s magic bow" featuring violin and piano showpieces.

From the MSO concert, we packaged his performance of the Stravinsky violin concerto and Ravel’s Tzigane,

I think you will (still) love this music too.

A LA CARTE #7- The Oscar Peterson Trio – Night Train (Expanded Edition)

 

We are repurposing the music from a Vinyl's Revenge post of January 26, 2016 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. The following notes are an update.

This classic jazz piano album Night Train was recorded by The Oscar Peterson Trio almost 60 years ago in Los Angeles on December 15 and 16, 1962. It’s a record that belongs in every collection, whether you’re presently a jazz fan or whether you’ve taken a vow against improvised music, thinking it’s incomprehensible and annoying.

The original album contained just 11 songs, and the re-released digital version adds several more. Verve recordings were always known for their quality of music and the outstanding artwork on their covers. Night Train is one of the most famous jazz albums of all time, and deservedly so.

Today’s re-post expands the original offering with a number of bonus tracks, including some alternate takes of the original material, and a few more hitherto unreleased contemporaneous studio recordings.

Tracks:

Happy-Go-Lucky Local (Aka "Night Train")

Written-By – Duke Ellington

C-Jam Blues

Written-By – Barney Bigard, Duke Ellington

Georgia On My Mind

Written-By – Hoagy Carmichael, Stuart Gorrell

Bags' Groove

Written-By – Milt Jackson

Moten Swing

Written-By – Bennie Moten

Easy Does It

Written-By – Sy Oliver, Trummy Young

Honey Dripper

Written-By – Joe Liggins

Things Ain't What They Used To Be

Written-By – Mercer Ellington, Ted Persons

I Got It Bad (And That Ain't Good)

Written-By – Duke Ellington, Paul Francis Webster

Band Call

Written-By – Duke Ellington

Hymn To Freedom

Written-By – Oscar Peterson

[VR-13]

Happy-Go-Lucky Local (Aka "Night Train") [Alternative Take]

Written-By – Duke Ellington

Volare

Written-By – Domenico Modugno, Francesci Migliacci*, Mitchell Parish

My Heart Belongs To Daddy

Written-By – Cole Porter

Moten Swing (Rehearsal Take)

Written-By – Bennie Moten

Now's The Time

Written-By – Charlie Parker

This Could Be The Start Of Something

Written-By – Steve Allen

[NEW]

Discogs - https://www.discogs.com/The-Oscar-Peterson-Trio-Night-Train/release/2165814 

YouTube Playlist - https://youtube.com/playlist?list=PL5ae6iB5xkhF61vFUWGGD4RGnLgdf1BwR

Internet Archive - https://archive.org/details/alc-07

A LA CARTE #6- Grieg à la carte

 

We are repurposing the music from a Vinyl's Revenge post of 28 June 2016 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure.  The following notes are an update.

The original post, featuring stage music by Grieg, is being “mashed up” into a new programme by adding more stage music by the Norwegian. This A La Carte montage extends our old vinyl share of Vaclav Neumann conducting excerpts Peer Gynt with a rare complete recording of the incidental music from Sigurd Jorsalfar.

Sigurd Jorsalfar is a play by Bjørnstjerne Bjørnson celebrating King Sigurd I of Norway. Published as his Op. 22, his incidental music for the play was first performed in Christiania on 10 April 1872. The full work consists of nine parts; five are purely orchestral, and four are scored for tenor or baritone, male chorus, and orchestra.

Happy Listeing!

 

Edvard GRIEG (1843-1907)

Peer Gynt, op.23 (Incidental Music, selections)

Soprano Vocals – Adele Stolte

Gewandhausorchester Leipzig

Václav Neumann, conducting

[VR-18]

Sigurd Jorsalfar Op. 22 (Incidental Music, complete)

1. Prelude

2. Intermezzo (Borghilds Dream) – Act I

3. In The ing's Hall (The Matching Game) – Act II

4. Horn Calls – Act II

5. The Norsmen – Act II

6. Homage March – Act III

7. Interlude I & II – Act III

8. The King's Ballad – Act III

Baritone Vocals – Kåre Bjørkøy

Chorus – Oslo Philharmonic Chorus

London Symphony Orchestra

Per Dreier, conducting

Archive Page - https://archive.org/details/alc-06

 

Wieniawski, Concertos #1 & 2

  

No. 375 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast375

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Original posts: TalkClassical; Blogger

Henryk Wieniawski was a polish violinist and composer and one of the most celebrated violinists of the 19th century.

Wieniawski was a child prodigy who entered the Paris Conservatory at age 8 and graduated from there with the first prize in violin at the unprecedented age of 11. He became a concert violinist at age 13 and began touring Europe with his brother Joseph, a pianist. His wide-ranging concert tours brought him international fame. In 1860 he was appointed violin soloist to the tsar of Russia, and from 1862 to 1869 he taught at the St. Petersburg Conservatory. In 1872–74 he toured the United States, playing with the pianist Anton Rubinstein, and he subsequently taught for a time at the Brussels Conservatory.

As a violinist Wieniawski was admired for his rich, warm tone, glowing temperament, and perfect technique. His own compositions for violin are Romantic in style and were intended to display his virtuosity. He composed two violin concerti, one in F-sharp Minor (Opus 14) and a quite popular one in D Minor (Opus 22). His other compositions include Le Carnaval russe (Opus 11), Legende (Opus 17), Scherzo-tarantelle (Opus 16), and études, mazurkas, and polonaises.

The pair of concerti are performed by Michael Rabin; the opening work, Bruch's Scottish Fantasy, was part of a past Vinyl's Revenge share, which we extended with the second Wieniawski concerto.

I think you will (still) love this music too.

A LA CARTE #4- Prokofiev à la carte

 

We are repurposing the music from a Vinyl's Revenge post of 23 August 2016 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. The following notes are an update.

The original post, featuring balletmusic by Prokofiev, is being “mashed up” into a new programme by adding another Prokofiev ballet.

Cinderella is one of Prokofiev's most popular and melodious compositions, and has inspired a great many choreographers since its inception. The piece was composed between 1940 and 1944. Part way through writing it Prokofiev broke off to write his opera War and Peace.

Cinderella is notable for its jubilant music, lush scenery, and for the comic double-roles of the stepmother and the two stepsisters (which can be performed in travesti), more mad than bad in this treatment.

Sergey PROKOFIEV (1891-1953)
Romeo and Juliet (Ромео и Джульетта), Op. 64
Selections from suites op. 64bis & ter
New York Philharmonic
Dimitri Mitropoulos, conducting
[VR-20]

Cinderella, Op.87 (Highlights)
1 Introduction
3 Cinderella
12 Spring Fairy
13 Summer Fairy
14 Grasshoppers And Dragonflies
15 Autumn Fairy
16 Winter Fairy
31 Promenade 1:36
32 Cinderella's Dance
33 Dance Of The Prince
37 Waltz-Coda 1:36
38 Midnight
45 Cinderella's Awakening
50 Amoroso: The Prince And Cinderella
The Cleveland Orchestra
Vladimir Ashkenazy, conducting

Archive Page - https://archive.org/details/alc-04

Francine Kay plays Debussy

 

No. 369 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast369

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Original posts: TalkClassical; Blogger

The original post featured some keyboard works by Claude Debussy, including his second book of preludes. As I stated in the original post, these were composed about two years after the first book, between the last months of 1912 and early April 1913. The works in Debussy's second book of préludes are similar in intent to those of Book I (1907 - 1910). Several of them look ahead to Debussy's later style, in which the composer's earlier impressionistic, almost Romantic poetry was supplanted by a greater concentration upon technique and neoclassical objectivity.

In order to “stretch” the original share, I added Debussy’s cello sonata to open the A la Carte montage. Initially subtitled "Pierrot is angry at the moon," the Sonata for Cello and Piano does have in it some of the modern-day commedia dell'arte sensibility - a raw, heart-on-the-sleeve, dark humor. The Cello Sonata is the most unrefined, emotionally exposed of Debussy’s three sonatas - maybe even of all Debussy's works.

Canadian pianist Francine Kay received her early musical training at L’Ecole de Musique Vincent D’Indy in Montreal, where she studied with Sr. Rita de la Croix and Yvonne Hubert. A scholarship from the government of France took her to Paris to study with Yvonne Lefebure as part of “Juillet Musical”, held in Saint-Germain-en-Laye, the birthplace of Debussy. She obtained her Bachelor and Master of Music degrees on scholarship at the Juilliard School, where she studied with Adele Marcus. Ms. Kay then pursued her studies with Marek Jablonski and Leon Fleisher.

I think you will (still) love this music too.

A LA CARTE #2 - Bach: Cello Suites (Markevitch)

We are repurposing the music from a Once Upon the Internet post of Nov 18, 2014 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. The following notes are an update with useful links we have created or discovered since the original post.

The original post, featuring cello music by Beethoven and Bach, is being “mashed up” into a pair of new playlists, the first of which features Bach’s suites for solo cello.

 

This new musical share, in tandem with another playlist from the Once Upon the Internet series completes the set of six suites.

 

The second suite was taken from the complete set recorded by Mr. Markevitch, found on YouTube at the following URLs:

 

Volume 1 (Suites 1, 3, 5) - https://www.youtube.com/playlist?list=OLAK5uy_n3NEvpaduZRxwqUcLXxDI1a6kqo25eiFs

 

Volume 2 (Suites 2, 4 6) - https://www.youtube.com/playlist?list=OLAK5uy_kJFwGb1LncFxjgkHUHVCkEyvngReC9Pdw

 

Happy (further) listening!

 

Johann Sebastian BACH (1685-1750)

 

Cello Suite no 2 in D Minor, BWV 1008 

Cello Suite no 5 in C minor, BWV 1011

Cello Suite no 6 in D major, BWV 1012

 

Dimitry Markevitch, cello

 

Archive Page - https://archive.org/details/01-alc-02-bach-cello-suites-2-5-6