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WAYLTL-October 2018
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HT
2018-10-01 17:43:03 UTC
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After many years I revisited Lev Oborin and was very pleasantly surprised by his interpretation of Brahms 119 and Scriabin sonata #2. In the first place because from a programmatic viewpoint they fitted remarkably well together, at least in Oborin's interpretation. Secondly because of the interpretations themselves. Oborin's approach to old Brahms and young Scriabin is as sui generis as it is easy to listen to.

Henk
Oscar
2018-10-02 18:29:34 UTC
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Eliette Schenneberg (Mz)

Marston 'Lagniappe' series.

Producers: Scott Kessler & Ward Marston
Audio Conservation: Ward Marston
Booklet Design: Takeshi Takahashi

Marston would like to thank Lewis M. Hall and Lawrence F. Holdridge for providing outstanding record sources for this compilation.

COMMENT: The two Saint-Saëns are worth the price of admission. Two of the finest vintage vocal recordings I've heard in a while.

Eliette Schenneberg was born in Dole, France in 1908. She studied at the National Conservatory of Paris where she won first prize in her final exams. She made her debut at the Palais Garnier on 7 December 1934 in D’Indy’s L’Etranger and performed in the world premiere of Marcel Delannoy’s Ginevra at the Opéra Comique in 1942. The same year she performed in Sylvio Lazzari’s L’Lepreuse with Madeleine Sibille, also at the Comique.

Eliette Schenneberg’s repertoire was quite large and included opera and song: Samson et Dalila (San Saens); Ariane et Barbe-Bleu (Dukas); and Le Coq d’or (Rimsky-Korsakov) as well as “Chanson Grises” (Hahn); “Les amours de Ronsard” (Milhaud); and “Trois Psaumes” (Honnegger).

One of the most interesting aspects of Eliette Schenneberg’s career was her great musicianship and collaborations with some of the 20th Century’s greatest French composers. This CD set includes Arthur Honegger at the piano and Darius Milhaud conducting.


1. SAMSON ET DALILA: Printemps qui commence (Saint-Saëns) 4:39
Columbia matrix# CLX 2348; catalogue # LFX 642
Eugène Bigot, conductor

2. SAMSON ET DALILA: Mon cœur s’ouvre à ta voix (Saint-Saëns) 4:40
Columbia matrix# CLX 2347; catalogue # LFX 642
Eugène Bigot, conductor

CHANSONS GRISES (Reynaldo Hahn)
3. I. Chanson d’automne 1:19
4. II. Tous deux 1:42
5. III. L’allée est sans fin 1:31
6. V. L’heure exquise 2:00
Columbia matrices #CL 8530 and CL 8532; catalogue # LF 257
André Collard, piano

7. Les Yeux: (words: Henri Bataille- music: Sylvio Lazzari) 4:33
Columbia matrix # CLX 2446; catalogue # LFX 708
Irène Aïtoff, piano

8. Le Cavalier: (words: Saint-Georges de Bouhélier-music: Sylvio Lazzari) 3:30
Columbia matrix # CLX 2447; catalogue # LFX 708
Irène Aïtoff, piano

TROIS PSAUMES
(French text: Théodore de Bèze and Clément Marot music: Arthur Honegger)
9. Benedicam Dominum in Onini 2:02
10. Eripe me. Domine, ab homine malo 2:26
11. Confiteor tibi Domine 1:02
Columbia matrices CLX 2448/9; catalogue # LFX 690
Arthur Honegger, piano

DEUX CHANSONS:
12. Verlaine (Verlaine- Honegger) 1:48
13. Pierrede Ronsard (Ronsard- Honegger) 1:01
Columbia matrices CLX 2449; catalogue # LFX 690
Arthur Honegger, piano

LE CERCLE DES HEURES SUR DES POÈMES ORIENTAUX (music: G. Samazeuilh)
14. Prelude... 1:06
15. Son nom 1:40
16. Doute :40
17. Renouveau 1:07
18. Si j’étais une luciole… :35
19. Doux etolles 1:11
20. Baiser 1:53
21. Postlude :38
French HMV matrices 4038/9; catalogue W-1564
Charles Münch, conductor
LES AMOURS DE RONSARD (Ronsard- Darius Milhaud)

22. La Rose 4:23
23. L’Aubépine 1:11
24. Le Rossignol 2:20
French HMV matrices: 2LA 1009/10; catalogue DB 4999
with Mahe, Rouquetty, and Froumenty; Darius Milhaud, conductor

GINEVRA - (words: Julien Lucharie- music: Marcel Delannoy)
25. Tableau I: Aux bords lointains– Martha Angelici and Etcheverry 2:27
26. Tableau I: Sep pair’s de souliers– Martha Angelici and Etcheverry 1:58
27. Tableau II: L’amour de moy- Irène Joachim et al. 2:58
28. Tableau II: Entendez brure dans l’ombre- Irène Joachim et al. 1:32
29. Tableau II: Duo du jardin- Joachim and Etcheverry 4:12
30. Tableau II: Air du Baiser- Joachim 3:45
31. Tableau III: Dis-moi Nounou- Schenneberg and Joachim 4:28
32. Tableau III: Berceuse du Grillon et conlusion- Schenneberg 4:22
Pathé matrices: CPTX 542-547; catalogue PDT 76-78
Opéra Comique, orchestra; Roger Desormiere, conductor
Oscar
2018-10-15 22:13:22 UTC
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Elgar: The Apostles, Op.49

Rebecca Evans (S)
Alice Coote (Mz)
Paul Groves (T)
Jacques Imbrailo (Bar)
David Kempster (Bar)
Brindley Sherratt (B)

Chorus of Apostles
Sean Boyes (T)
Thomas Kelly (T)
Timothy Langston (T)
Thomas Morss (T)
Adam Player (T)
Stefan Berkieta (B)
Matthew Kellett (B)
Graham McCusker (B)
David Shelvey (B)

Hallé Choir (director: Frances Cooke)
Hallé Youth Choir (director: Richard Wilberforce)
Hallé Orchestra (leader: Lyn Fletcher)
Sir Mark Elder CBE

Hallé Concerts Society CD HLD 7534 ℗ © 2012. 2CD.
Recorded LIVE in the Bridgewater Hall, Manchester, May 5, 2012, and in rehearsal.
Producer and balance engineer: Steve Portnoi.
Assistant engineers: Niall Gault, Dermot Gault and Jeremy Oxley.
Editing and mastering: Steve Portnoi.

COMMENT: Rule, Brittania!
Oscar
2018-10-17 21:21:37 UTC
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Listening to Sir Mark Elder's Hallé recording of Elgar's Apostles again. Beautiful rendering of this underrated, Wagner-esque oratorio. I've been on an Elgar kick lately.
Oscar
2018-10-18 18:07:29 UTC
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Albéniz: Suite española, Op.47 (orce. Frühbeck de Burgos)

New Philharmonia Orchestra / Rafael Frühbeck de Burgos

Analogue Productions/Decca CAPC 6355 SA ℗ © 2017. Stereo-only hybrid SACD.
Mastered by Willem Makee.

COMMENT: Makee was a mastering engineer at Emil Berliner Studios for almost 40 years, before retiring sometime around 2013. This is the definitive statement of this recording, and I'm sure the 45 RPM 2LP by Analogue Productions (cut by Makee) is just as good. Stunning!! I have always loved this recording.
Oscar
2018-10-18 19:31:53 UTC
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Beethoven: Piano Sonatas, Opp.101 & 106 'Hammerklavier'

Evgeni Koroliov (pf, Bösendorfer Imperial)
'The Koroliov Series Vol.XIV'

TACET 206 ℗ © 2012. CD.
Recorded at Jesus-Christus-Kirche, Dahlem, Berlin, 2012.
Instrument: Bösendorfer Imperial.
Tuning and maintenance of the piano: Gerd Finkenstein.
Technical equipment: TACET.
Recorded and produced by Andreas Spreer.
Cover photo: © Markus Pfaff / Shotshop.com
Photo Evgeni Koroliov: © Gert Mothes.
Cover design: Julia Zancker.
Booklet layout: Toms Spogis.
Booklet note: Thomas Seedorf.
Total time: 67'57.
Made in Germany.
Internet: http://www.tacet.de

Press reviews
"This unassuming man is a genius, capable of absolute control of the keys, enchanting euphony and performance of the highest expression for the entire duration of the Goldberg Variations." (Corriere della sera)
"The outstanding Evgeni Koroliov ... presents himself to an audience whose attention does not flag for an hour and twenty minutes; including children in the company of their parents. That is saying something." (Le Monde)

COMMENT: Couldn't pass up a $2.99 sealed CD in the bins. I like it. He seems to know what he's doing in the Hammerklavier, musically, not just technically.
Frank Berger
2018-10-18 21:31:55 UTC
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Post by Oscar
Albéniz: Suite española, Op.47 (orce. Frühbeck de Burgos)
New Philharmonia Orchestra / Rafael Frühbeck de Burgos
Analogue Productions/Decca CAPC 6355 SA ℗ © 2017. Stereo-only hybrid SACD.
Mastered by Willem Makee.
COMMENT: Makee was a mastering engineer at Emil Berliner Studios for almost 40 years, before retiring sometime around 2013. This is the definitive statement of this recording, and I'm sure the 45 RPM 2LP by Analogue Productions (cut by Makee) is just as good. Stunning!! I have always loved this recording.
I've thought the Eloquence release sounded really good. Can this be
$30-40 better?
Oscar
2018-10-18 22:38:23 UTC
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I got it used “like new” for $9.99, but yes, it _trounces_ yr pitiable Eloquence experience. Willem Makee v. Paschal Byrne in a steel cage match? I’ll take the old man every day of the week!
Oscar
2018-10-25 18:06:50 UTC
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Was kidding, Frank. Eloquence is fine. The SACD really is glorious, however.
Oscar
2018-10-25 18:14:59 UTC
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Brahms: 16 Waltzes, Op.39; 21 Hungarian Dances WoO 1

Hélène Mercier (pf)
Cyprien Katsaris (pf)

Warner Classics 0190295636661 ℗ © 2018. CD.
Stereo. DDD.
Recorded at Église évangélique Saint-Marcel, Paris, May 16-18 & 20, 2016.
Producer, editing & mastering: Nikolaos Samaltanos.
Piano technician: Denijs De Winter.
Piano: Steinway D Hamburg.
Design: Paul Marc Mitchell for WLP Ltd.
Booklet note: Cyprien Katsaris
English translation: Robert Sargant.
http://www.cyprienkatsaris.com
http://www.warnerclassics.com
℗ 2018 Parlophone Records Limited.
© 2018 Parlophone Records Limited, a Warner Music Group Company.

COMMENT: Very fine music-making for four-hands piano. If you're a Brahms fan, you can do no better than this release of these works in this arrangement.
Al Eisner
2018-11-06 22:10:26 UTC
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Post by Oscar
Brahms: 16 Waltzes, Op.39; 21 Hungarian Dances WoO 1
HélÚne Mercier (pf)
Cyprien Katsaris (pf)
Warner Classics 0190295636661 ℗ © 2018. CD.
Stereo. DDD.
Recorded at Église évangélique Saint-Marcel, Paris, May 16-18 & 20, 2016.
Producer, editing & mastering: Nikolaos Samaltanos.
Piano technician: Denijs De Winter.
Piano: Steinway D Hamburg.
Design: Paul Marc Mitchell for WLP Ltd.
Booklet note: Cyprien Katsaris
English translation: Robert Sargant.
http://www.cyprienkatsaris.com
http://www.warnerclassics.com
℗ 2018 Parlophone Records Limited.
© 2018 Parlophone Records Limited, a Warner Music Group Company.
COMMENT: Very fine music-making for four-hands piano. If you're a Brahms fan, you can do no better than this release of these works in this arrangement.
Not arrangements, but all or most written originally for piano four-hands.
Thanks for the recommendation.
--
Al Eisner
Lawrence Chalmers
2018-10-25 23:45:18 UTC
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Post by HT
After many years I revisited Lev Oborin and was very pleasantly surprised by his interpretation of Brahms 119 and Scriabin sonata #2. In the first place because from a programmatic viewpoint they fitted remarkably well together, at least in Oborin's interpretation. Secondly because of the interpretations themselves. Oborin's approach to old Brahms and young Scriabin is as sui generis as it is easy to listen to.
Henk
Scriabin Symphonies on Lawlo by Petrenko/Oslo. Wanted these in up-to-date
sound and was not disappointed. In terms of actual performance I still prefer Muti/Philadelphia. Also performances of Prometheus by Gergiev. I like the chorus to emerge full throated. Imprint recordings of Poem of Ecstasy and Prometheus (w/o chorus) by Mitropoulos/NYP which in intensity dwarfs all others.
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