This is a collection of three pretty great Conrad novellas, the rather incredible Typhoon, Falk and The Shadow-Line. Though all three are not of the same quality, to show off many of the things that make Conrad great, including his ability to innovate and create tension at the same time. I sort of feel like …
Tag: Modernism
The Nightingale and Other Short Fables live at the Four Seasons Centre, May 13, 2018
Back in 2008 or 2009 or so, the Canadian Opera Company put on a radically different performance of Igor Stravinsky’s “3 act” opera The Nightingale, buttressed by additional pieces in order to actually make the runtime somewhat comparable to a normal opera. (The Nightingale runs less than an hour.) I don’t know who initially curated the selections …
Mauricio Kagel (2003) by Alexandre Tharaud
This collection is a little confusing in part because of the confusing nature of Rrrrrrr…, which can apparently be performed independently. The disc appears to be a compilation of his piano-based music. Calling “piano music” would be a misnomer, as there are lots of other instruments on a number of the pieces.
From the House of the Dead (1980) by Leos Janacek, performed by the Wiener Philharmoniker, Wiener Staatsopernchor conducted by Charles Mackerras featuring Jiri Zahradnicek, Ivo Zidek, Vaclav Zitek
This disc pairs Janacek’s last (and shortest?) opera with two unrelated chamber pieces performed by an entirely different orchestra, grumble.
Intimate Letters (1996) by the Juilliard String Quartet
This disc compiles both of Janacek’s string quartets with Berg’s “Lyric Suite”, a six part quartet. It is named after the second of Janacek’s quartets.
Sonatas and Poems (2015) by Stephen Hough
This collection features two of Scriabin’s piano sonatas, and two of his “poems,” plus Janacek’s only piano sonata and the first book of On an Overgrown Path.
Ives: Symphonies Nos 2 and 3; The Unanswered Question (1966) by the New York Philharmonic conducted by Leonard Berstein
This is a compilation of the New York Philharmonic and Leonard Berstein’s performances of the middle symphonies and The Unanswered Question, originally a piece paired with another but one that has found a lot of attention as a standalone.
Ives: The Symphonies; Orchestral Sets 1 and 2 (2000) by Various Artists
This is one of those Decca compilations that takes recordings from all over its catalogue – in this case from the mid ’70s and the mid ’90s – to create an ostensibly “complete” collection of a composer’s works in a given field, in this case Ives’ work for large orchestra. Of course it’s not complete, …
Ives: Symphonies Nos 2 and 3 (2006) by the Dallas Symphony Orchestra conducted by Andrew Litton
This set pairs Ives’ middle symphonies with the “song” he orchestrated. The second symphony opens with a movement that is, for Ives, startlingly traditional but it soon brings the zaniness he’s known for.
Ives: Concord Sonata; Songs (2004) by Pierre-Laurent Aimard with Susan Graham
This is one of those discs that pairs two different types of music and so, right off the bat, kind of annoys me. Ives has plenty of songs to release a whole disc (or many discs) of them, without instrumental music. (For example, one of his collections is called 114 Songs.) And he’s got plenty …
Hindemith: Kammermusik (2012) by the Berlin Philharmonic Orchestra conducted by Claudio Abbado, et al.
This set collects Hindemith’s Kammermusik compositions – two are actual chamber music pieces, seven are concertos – and for reasons I may not ever understand, pairs them with a violin sonata and an incomplete work.
Julie by Philippe Boesmans and Luc Bondy, Live at the St. Lawrence Centre, November 19, 2015
This is a 2005 chamber opera based on the 1888 play Miss Julie by August Strindberg. I have never read Strindberg, and I don’t know if I’ve read much naturalist literature or drama, so this was a new experience for me.
Hindemith: Ludas Tonalis; Suite 1922 (2006) by Boris Berezovsky
This collects two of Hindemith’s solo piano works, the most famous ones and those that are usually considered “essential.”
Symphonies 3-5 (2011) by H.W. Henze, performed by Rundfunk-Sinfoniorchester Berlin, conducted by Marek Janowski
This is an excellent set of three of Henze’s symphonies, showing him at perhaps his most radical stage. This is the kind of modernist “classical” that I just love; bonkers writing and bonkers arrangements.
Simplicius Simplicissimus (2012) by Karl Amadeus Hartmann, performed by Netherlands Radio Philharmonic, Netherlands Radio Choir, Juliane Banse, Petermarsch, Will Hartmann conducted by Markus Stenz
From the very opening bars it’s clear that this is no ordinary opera. And though that’s true of the most path-breaking and challenging operas of the early 20th century – I am thinking chiefly of Berg’s work – this one is perhaps more shocking given the (seemingly) more traditional stance of the composer.
Concerto funebre; Sonatas and Suites for Solo Violin (2007) by Karl Amadeus Hartmann, peformed by Alina Ibragimova
This is an excellent collection of Hartmann’s violin music.
Symphony No. 14 (2013) by Dmitry Shostakovitch, performed by the Royal Liverpool Philharmonic conducted by Vasily Petrenko, with Gal James and Alexander Vinogradov
I have taken some time getting to know Shostakovitch and, on the whole, I have found him a little underwhelming, I guess because of his allegiance to the past. And I know I am coming at his symphonies backwards, by listening to the second last one first, but…
Ives: Four Sonatas (2012) by Hilary Hahn, Valentina Lisitsa
This is an excellent set of Ives’ violin sonatas. The pieces are a little more accessible than some of Ives’ more orchestrated pieces, in part I guess because of the nature of the violin. But the music is still characteristic Ives: challenging yet appealing. And the performances sound great to my ears, though like always …
Violin Sonatas: Bartok / Strauss / Grieg (2011) by Vilde Frang
This is a strong collection of mid-to-late Romantic and early modern violin sonatas. The collection spans a very long period of time.
Dvorak; Poulenc; Grieg (2009) by Marie-Josee Simard, Marie Fabi
This is an interesting recording that takes three well known sonatas (two violin sonatas, one of which at least is among the greatest of the twentieth century, and one flute) adapted for vibraphone. I am really open to this kind of stuff and I must say that I think this really works and I am …
Witches Brew (1959, 1964, 2008) by the New Symphony Orchestra of London conducted by Alexander Gibson
This is one of those “Spooky classical” things that is generally entertaining but hardly anything more. It’s a good (but obvious) selection of famous “spooky” pieces, primarily from the Romantic era. The Ex and I attended one of these types of things with the TSO one Halloween a few years ago and the selection wasn’t …
String Quartet; So You Want to Write a Fugue; Shostakovitch; Poulenc (1997 Compilation)
I really like Gould’s quartet. I know it’s not the most forward-thinking piece for the time, but I think it’s among the second tier of its era and I really don’t mind listening to it. The fugue-song thing is a different story: I like it but it’s almost too clever. I like that it seems …
Mennin: The Cycle, Ginastera: Milena (Release date unknown) by Various Artists
It’s really hard to like compilations like this, even though I like the music. This compilation contains no information about its release date or the dates of the performances. The composers and artists are listed, but the reason for such an arbitrary combination of two pieces is never given. (The one commonality: both are orchestral …
Gershwin: Rhapsody in Blue, An American in Paris, Concerto in F (1960, 200?) by Various Artists
I’ve heard the Bernstein “Rhapsody” before, and I still like it perhaps more than any other version. His version of An American in Paris is also good. Don’t really know why the Concerto features Andre Previn instead, but it’s also a good version. If I didn’t like the music so much, I’d probably be annoyed …
Debussy: the Complete works for Piano (1995 compilation) by Walter Gieseking
Debussy’s piano music is as significant as Satie’s, even if it isn’t always as obviously revolutionary. Debussy eventually became very mainstream and so his music had much more currency. And it’s been absorbed so much it’s sometimes hard to tell how exactly he was breaking away (but other times it is very obvious). As someone …
The Big Money (1936) by John Dos Passos
Whereas I found Nineteen Nineteen to be a significant improvement on the first book, The Big Money feels like he has lapsed back into his bad habits, and he gets confused between the form and the storytelling. He is still writing reasonably compelling stories but he can’t decide whether he wants to tell one person’s …