What are you listening to right now?

[williampiano]

Right now I'm listening to King Porter Stomp by Jelly Roll Morton.

[m1469]

Ah gawd, so beautiful.  I am now a fan of Jessye Norman.  Also, I am putting this aria onto my list!  Boom!  I'ma gonna own you, aria!

[pianowolfi]

Ah gawd, so beautiful.  I am now a fan of Jessye Norman.  Also, I am putting this aria onto my list!  Boom!  I'ma gonna own you, aria!

*Sits in the opera. Feels the special atmosphere. Yes it's so typical for Wagner*

(I have never attended a live Lohengrin yet, but some other Wagner operas, recently "Die Meistersinger")
 
He certainly always knows what he does. I mean Wagner.

But here I wish that the aria (Of course you will own it, no doubt at all!) goes just on and on!! It's so perfect! Why does he spoil his most sublime, inspired and heavenly music and incredible instrumentation with "dramatic" interruptions ("Hinweg, hinweg!")? Sometimes I don't get it and then I almost get angry at him.

 

[m1469]

*Sits in the opera. Feels the special atmosphere. Yes it's so typical for Wagner*

(I have never attended a live Lohengrin yet, but some other Wagner operas, recently "Die Meistersinger")
 
He certainly always knows what he does. I mean Wagner.

One day I will see/hear, as well .

But here I wish that the aria (Of course you will own it, no doubt at all!) goes just on and on!! It's so perfect! Why does he spoil his most sublime, inspired and heavenly music and incredible instrumentation with "dramatic" interruptions ("Hinweg, hinweg!")? Sometimes I don't get it and then I almost get angry at him.

haha ... well, perhaps it will become more clear as I study what the opera is about?    

[marik1]

Ah gawd, so beautiful.  I am now a fan of Jessye Norman.  Also, I am putting this aria onto my list!  Boom!  I'ma gonna own you, aria!

Along with Leontyne Price Jessye Norman is one of my favorites ever! Not that I am a big fan of Wagner, but the way her voice floats in Liebestod is quite unbelievable:

IMO, her Strauss "Four Last Songs" with Kurt Mazur is second to none.

Best, M

[birba]

I'm not a particular fan of jessye Norman.  There's something about her upper register that grates on me.  IMO the renée fleming recording of the vier letzte lieder is the tops.

[marik1]

I'm not a particular fan of jessye Norman.  There's something about her upper register that grates on me.  IMO the renée fleming recording of the vier letzte lieder is the tops.

Matter of taste--not going to argue.

For comparison just put this one from 3:18'

And this one from 2:58'

Best, M

[birba]

You're right, de gustibus non est disputandum!  I have that recording of Jessye Norman - I think I have every recording of the 4 letzte lieder - it is beautiful.  It is a recording.  I have renée fleming's recording, too.  As all recordings, that's touched up as well.  Longer breaths, etc. The 2:58 you're talking about is very difficult LIVE.  In a recording studio, it's a cinch.  Fleming pulls it off beautifully as well on the recording.   I've never seen this live one before..  I heard a beautiful one with Abbado.  At any rate, I hear the words in Fleming's rendition.  That is, I get the sense.  Jessye Norman has a unique color.  It's beautiful but slightly "bleeting" at times.  Especially in the upper register.  And when she's up there, I feel like she's half of a half step flat.  But like you said, you can't argue about tastes.  
Maybe we can agree on Schwarzkopf's  recording?  I actually became acquainted with these songs with the Betty Blackhead recording.  Could never go back there now!   

[birba]

Another incredibly beautiful performance.

[m1469]

For comparison just put this one from 3:18'

&feature=related

And this one from 2:58'

Best, M

This is a really interesting comparison to me and thank you for posting this.  I have just started listening to vocalists with a new ear (and I'm currently listening to Liebestod as I write this).  Recently I've listened to Renee Fleming in comparison with Cecilia Bartolli and somebody else for a different aria (Come Scoglio by Mozart), and didn't feel too drawn to her for that, but here I have heard new things that are helpful (though it seems Jessye's voice is more geared for the writing).  

What I find interesting is the demonstration of something regarding the fach system, where Renee Fleming is considered to be a "full lyric" and Jessye Norman a "dramatic soprano," and I think Wagner is more geared towards the bigger voice (dramatic).  Leontyne Price is a "lirico spinto" (spinto being somewhere between "full lyric" and "dramatic" in terms of "size" (but I'm pretty sure color plays a role, too)).  I am always interested in the relationship and fit between repertoire choice and voice type/vocal characteristics, and how those influence each other, because I still don't really understand that.  Just gives me something to think about ... I myself seem to be going towards Puccini, Verdi, Strauss, Wagner ... bigger stuff than before, and don't understand what it is about the music, exactly, that makes a person more comfortable -other than coloratura stuff or speed- in some repertoire over others.  But, that also gives me something to listen for.

[candypiano]

[m1469]

Leontyne Price in D'amor sull' ali rosee ... phweew *adding recit and aria to list* (prepare for ownage)

haha ... I just listened to the ending ... *yikes*    That's going to be some work, not to mention I'm going to have to bust out a high Db

[birba]

 Wow, where did that come from.  It looks like one of those Sunday afternoon "playhouse presents" we used to watch in the 60's.  What a singer.  She was definitely one of the major sopranos of the 20th century.  It's interesting to see how she opens up that huge mouth even in the soft upper register notes.  What a technique.
You don't HAVE to sing that d-flat.  I don't think it's even written in the score.  It's probably one of Ricci's cadenzas.  I think she studied with him when she was in Rome as a student.  In fact, I don't really care for it, though she pulled it off like a candy wrapper.

[ted]

Williampiano, thanks for that. Morton is extraordinarily difficult to play well. There are no excuses now Dapogny has transcribed all of Morton in the Smithsonian Institute edition. It sounds as if it should be easy, but Morton's  highly individual command of the keyboard and precise rhythmic inflection seem built for him and no one else. I tried very hard with a number of the solos and so far I just haven't "got it". Beautiful piano music though, and all improvised too.

[m1469]

Wow, where did that come from.  It looks like one of those Sunday afternoon "playhouse presents" we used to watch in the 60's.

Yeah, I don't know I just looked up the aria on YT and found her.  It says it was a live telecast in 1963, so I guess you're right on the mark!

What a singer.  She was definitely one of the major sopranos of the 20th century.  It's interesting to see how she opens up that huge mouth even in the soft upper register notes.  What a technique.

Yeah, it's just incredible.  It's as though the piece were composed for her.  One thing I notice about her is that she seems to have potential piano hands .  You know, it's really fun to watch her sing that Db; she does *exactly* what the director of the Opera Scenes stuff I've been doing for years says to do.  She says to really use dramatic motions (when there's the opportunity) to help oneself musically and technically, and notice that Leontyne's biggest physical motion is precisely at the time (well getting into it, which is the thing that needs help) she sings this Db, and you can tell she's using the drama to help herself technically/musically, and of course she pulls it all off like a candy wrapper (haha ... my new favorite saying  ).  It's interesting to observe.

You don't HAVE to sing that d-flat.  I don't think it's even written in the score.  It's probably one of Ricci's cadenzas.  I think she studied with him when she was in Rome as a student.  In fact, I don't really care for it, though she pulled it off like a candy wrapper.

Yeah, it's actually written in my score as an *option* but I see I don't have to sing it, and it's actually written a little bit earlier than when Leontyne busts it out.  Just yesterday I had a very great warmup session singing and stumbled upon a completely new form and freedom (hopefully I'll be able to explore that more today) and busted out an Eb.  I know I have a Db and that was in fairly nice condition yesterday ... I mean, I was singing up there like never before.  I have high C's that I've sung in performance before and I have one in another aria, but it's kind of felt like a wall of some sort that I can't quite get beyond in the same way (until yesterday) even though I've commonly warmed up past that.  It's amazing the difference a half-step can make!  Anyhoo, time to press on.  I'm glad you enjoyed the recording!  

[49410enrique]

[49410enrique]

[sueyin]

Benjamin Hopkins playing Beethoven's 3rd concerto without accompaniment for the PSO competition:

He is asking for our votes, too!

[49410enrique]

i love the PTNA channel as the videos are superbly shot and all performances are great but i am realizing more and more that this is the best stuff to watch only when i want to feel woefully inadequate...

OH MY GAWD!!
did you hear that it was the sound of my ego being crushed....

[drkilroy]

My rule no.1 is: Ignore anything mentioning child prodigies. 

Ralph Vaughan Williams - Oboe Concerto - III Finale (Scherzo):

Best regards, Dr

[thalbergmad]

Splendid composer.

Check out the Concertino, which is almost currently in my repetoire.

Thal

[49410enrique]

... no.1 is: Ignore anything mentioning child prodigies.  ...

Best regards, Dr

good advice, i was really wanting to finish this fanstic performance of the rachmaninoff op. 3 no 1, but i'm afraid if it watch anymore i will have to sell my piano and burn my scores while i cry over the ashes...

[49410enrique]

Splendid composer.

Check out the Concertino, which is almost currently in my repetoire.

Thal

 wow did not know such a work existed, off to try and find a recording...

also, are you aware of this little concerto? reminds me a bit of kabalevsky no 3 only not quite as giddy, still neato nontheless. can't find any info on a score publisher, probably only available in asia or something...

[49410enrique]

this surpised me, big time, was not expecting this at all from something so modern (2009)
The Shining One, pour piano et orchestre (2009)

A brief piano concerto by contemporary French composer Guillaume Connesson (born 1970), dedicated to Jean-Yves Thibaudet. The work is based on the classic 1919 science fiction-fantasy novel "The Moon Pool" by Abraham Merritt. In the novel, the Shining One (a.k.a. the Dweller) was a being created by a highly advanced subterranean race, capable of both great good and great evil. Over the course of the story, the Shining One turns increasingly towards evil, rising to the surface of the Earth and terrorizing humans. The prominent roles that dualism and ritualism play in the book are indicative of the profound influence that Helena Blavatsky's Theosophical writings had on Abraham Merritt.

Piano: Eric Le Sage
Conductor: Stéphane Denève
Royal Scottish National Orchestra

Guillaume Connesson - The Shining One: Piano Concerto (2009)

for those interested in performing, you can't buy a score but it is available for hire:
https://www.billaudot.com/en/composer.php?p=Guillaume&n=Connesson

[m1469]

I'm sitting outside, under a cherry tree in full bloom, having a bit of an Appassionata listening marathon, having listened straight through all 3 movements of Barenboim once again, and of course very much enjoying that.  Now is Horowitz, and I have to say, he is just incredible as a pianist, yes, but even more as a "voice."  I am finding myself absolutely fascinated to listen, and have found something very interesting ... It's almost as though there are not "notes," it's like there is only voice.   His voice is louder than the notes and somehow it's as though the fact that there are notes at all is secondary in such a way that it's like it doesn't matter if the notes even exist, and they very nearly don't!   I like him all anew.  2nd movement now with 3rd to come, and then Brendal is next.  

[goldentone]

Guitar Concerto in A, Ferdinando Carulli.

2nd movement now with 3rd to come, and then Brendal is next.  

You sound like you were having fun.  I like Brendel a lot.  His late Schubert sonatas, ohh. . . indispensable for me.  I have a CD of him playing late Beethoven.  I heard his Pathetique a few weeks ago, and that was something to hear.  I've never heard his Appassionata before that I can recall.  How was that?

[birba]

then how come, here, he's known as Alfred Brendull?!  I couldn't believe that the first time I saw it. He's always been one of my mentors.

[49410enrique]

i keep telling myself, no more, since while watching, these little kids make me want to quit piano, i mean what's the use!?!

...sigh* but the music is too beautiful, i am a glutton for punishment. it's over now- so i'll go practice (which is what these videos make me want to do when they end once the 'i should quit'moment passes while the're playing).

[birba]

I know.  It's disgusting.   And guess how many of these freaks populate the world.
No, seriously.  this kid is gifted.  I mean, it's like emill.  He has that "something" that sets him apart from the "normal" wunderkind.

[49410enrique]

I know.  It's disgusting.   And guess how many of these freaks populate the world.
No, seriously.  this kid is gifted.  I mean, it's like emill.  He has that "something" that sets him apart from the "normal" wunderkind.

you're totally spot on. i watch a LOT of the PTNA videos all over the place they are great little musicians, but i got the feeling from this one that there was more than instruction on how to, and masterful imitation going on here, it looks like it's coming from somewhere deep inside him, there's some body movement and facial ('micro expressions') that i don't think can be 'taught' you have it or you dont. he has it and enough to 'spare'. when i first saw it iwasn't expecting that it blew me away and i had to hit an immediate 'replay'

[rachmaninoff_forever]

Scriabins 5th sonata played by Richter.

[m1469]

You sound like you were having fun.  I like Brendel a lot.  His late Schubert sonatas, ohh. . . indispensable for me.  I have a CD of him playing late Beethoven.  I heard his Pathetique a few weeks ago, and that was something to hear.  I've never heard his Appassionata before that I can recall.  How was that?

Yeah, it was extremely pleasant!  Out of the three, I would say that I connect with Brendel on pure instincts alone, the least.  There is something about Barenboim's playing and Horowitz's that growls a bit, and there's something about that which seems to naturally tap into something within me more.  But, I can tell there is a lot to Brendel's interpretation, and I find these mentioned facts making me want to listen with various sorts of ears to his interpretation, and find out more about what he intends and why.  I don't know that I would personally end up choosing particular attitudes that he might have, and I surmise for now that much of what he interprets is based perhaps more on intellectual/studied ideas than on raw instinct, per se (though, perhaps his very instinct is to study!), but I think I will learn from it.  A satisfying answer?    Maybe not.  I have a lot more listening to do.

[m1469]

i keep telling myself, no more, since while watching, these little kids make me want to quit piano, i mean what's the use!?!

...sigh* but the music is too beautiful, i am a glutton for punishment. it's over now- so i'll go practice (which is what these videos make me want to do when they end once the 'i should quit'moment passes while the're playing).

I understand those feelings.  It's interesting for me to consider the various phases in my life of observing other pianists in general, and then there is a particular category of observation for child prodigies.  At first I used to be very disheartened by it, for various reasons, one of which was that I thought that child prodigies were all that really mattered to anybody, and I myself needed to find the right circumstances for growth where it didn't seem that way.  That is along the personal lines of it.  

Then, I turned my feelings into humble observation.  What are they doing that makes them successful pianists/technicians?  And, that came along with asking myself that more and more with any pianist in general (as well as what they are doing that is not as successful, but that is tending more towards adults (even if they used to be child prodigies, btw)).  Then I started listening differently, and now I listen yet more differently still.  Technically, on the level of being capable to freely phrase and freely articulate musical concepts, no question.  Even though there is a nice atmosphere and this can't be achieved by just anyone under the sun, personally I am seeking something more.  So, yes, many things in place, but no, not a reason to give up.

I have to say, in the thread about "imagine being a concert pianist," one of the speakers mentioned the necessity of having one's basic technique ironed out by the time they are teens, but in the last year I start to wonder if this concept is in fact detrimental, as I think we never want to invite the concept of our technique and our muscles for that matter, to be carved in stone.  Our bodies must be as supple as our artistic concepts, and hopefully those are always growing.  If a person's technique couldn't change and grow with personal and musical maturation throughout one's entire life, what happens?  I think I am either a perfect candidate to be considering these things, or completely the wrong one, I'm not sure.  But, I would venture to say that if somebody like Kissin suddenly had an earth-shattering experience, musically and personally, which changed his life and his entire concept of music, even his technique would need to be supple towards change, even at a very fundamental level.

[littletune]

I know.  It's disgusting.   And guess how many of these freaks populate the world.
No, seriously.  this kid is gifted.  I mean, it's like emill.  He has that "something" that sets him apart from the "normal" wunderkind.

Birba do you mean like Enzo? Emill is the dad, not the kid. 

Well I don't really feel all that bad about kids like that who are so good at playing piano (or whatever), I mean it's cool that kids can be so good at whatever they do, so they can show grownups that kids are not just some stupid beings who can't do anything. 
It bothers me only if someone thinks I'm not that serious about piano just cause I didn't start learning at 6 or 7!  And I don't feel like hurrying now and skipping grades and trying to learn more or anything like that! And I really love playing my kiddie pieces!   

[49410enrique]

love what szpilman does did here, no wonder folks refer to him as a sort of 'polish' gershwin, all the more incredible considering this was composed in the warsaw ghetto,

[49410enrique]

sweety molly that was incredible! i think thal said these piano concertos are on hire only with permission from the family and the royal college of music and still in manuscript form, too bad i realy would have loved to read along to this.....

[williampiano]

A Scarlatti piece I just discovered the other day. It's quite beautiful, especially on the pipe organ.

[birba]

I liked that Scarlatti very much!  It's the first time I ever heard scarlatti on an organ.  With the different sonority and slower tempo it's a whole new music!

[j_menz]

I liked that Scarlatti very much!  It's the first time I ever heard scarlatti on an organ.  With the different sonority and slower tempo it's a whole new music!

It is beautiful on the organ.  I'm inclined to think way to many people play Scarlatti way too fast generally; I think this tenmpo works pretty much as well on a piano too.

I'm currently listening to the late Beethoven String Quartets played by the Emerson. Sublime. 

[ted]

I am listening to the wonderful recordings on youtube of the old blues singers. What powerfully disturbing music and images. What a cosseted and easy musical journey I have had. How on earth these players and singers managed to create such beautiful music out of it all amazes me.

[49410enrique]

... What a cosseted and easy musical journey I have had. How on earth these players and singers managed to create such beautiful music out of it all amazes me. ...

you might be interested to read this, amazing what beauty can emerge through the resilience of the human spirit amongst the most horrible of circumstances

https://fcit.usf.edu/holocaust/arts/MUSVICTI.htm

[zezhyrule]

Arrau playing Beethoven's "Pastoral" Sonata Op. 28. Arrau may be the unconventional choice when it comes to Beethoven Piano Sonatas, but his interpretations of many are probably my favorite  

[deemaxx]

[birba]

Arrau playing Beethoven's "Pastoral" Sonata Op. 28. Arrau may be the unconventional choice when it comes to Beethoven Piano Sonatas, but his interpretations of many are probably my favorite  

What are you saying?  Arrau was a GREAT Beethoven interpreter.

[zezhyrule]

What are you saying?  Arrau was a GREAT Beethoven interpreter.

Yes, he sure is. I didn't mean 'unconventional' as in weirdly different or not normal, but simply different from what most people recommend. At least around where I am. Sorry if I used the wrong word D:

[essynia]

Kate Nash's Navy Taxi.

[49410enrique]

her videos are more and more polished lately, but this one really shines, she outdid herself, i loved the children, their faces, their reactions to 'hearing a violin' for the first time.

makes me wish we could lug a grand piano around like string players o other people in the workd could experinece the sound of our instrument for the first time too...

even if it's not your type of sound, the sentiment and what she did here is lovely. i particularly loved the drums and authentic chorus in the background vocals

[ted]

I am listening to this wonderful player on youtube. I had never heard of him before. Such rhythmic drive and invention !

[revanyoda777]

Chopin's Ballade no. 1 in G Minor, played by Rubinstein, from the official recordings selections here on PS (pretty awesome that they are here, all in one place ).  I am going to start learning this  .  Then, I'll listen to the other recordings from the same collection.  Then maybe others, too  . 

That's perhaps my favorite recording of that Ballade! Well, Rubinstein is my favorite Chopin interpreter so it makes sense. I'm listening to an Astor Piazolla Concerto at the moment and loving it!

[49410enrique]

i've always loved this intro. it makes me think about what else mozart had floating around in his head that he perhaps never felt he could get away with given the times (i.e. ahead of the 'tastes' of peers and audience), i think mozart had it inhim to push into more brazen tonality but he maybe knew folks weren't ready for it. at least he let us have this little 'preview' i tend to think...