Best Ever Albums

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Wed, 28 Oct 2026 15:35:54 GMT

Author: Fischman

Posted: 10/28/2026 19:35

Giuseppe Ferlendis - Concerto per Corno Inglese
Year: 1785
Orquesta Sinfónica del Principado de Asturiаs/Nuno Coеlho
Juan Pedro Romеro/English Horn
Rating: 3.75 Stars

Link

Giuseppe Ferlendis was himself a highly accomplished oboist and English horn player, so it's no surprise he'd have some demanding virtuosity early on in this English Horn Concerto. But this isn't a mere recital piece, it's a solid composition. Interestingly, that opening movement takes up more than half the entire concerto, but things never seem out of balance. In fact, whatever angle I look at this piece from (or listen to it from), balance seems to be an operative word. It makes this thing go down very smoothly, like a light Austrian Grüner Veltliner. In addition to the soloists virtuosity and the delicate balance between soloist and orchestra, this piece also balances late baroque ornamentation with the Viennese classical style. It's not a particularly stirring or mind blowing listen, but it has a certain delight to it. Recommended for easygoing but uplifting pleasure when you're not looking to seriously plumb the depths or blow the roof off.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sun, 25 Oct 2026 14:54:11 GMT

Author: Fischman

Posted: 10/25/2026 18:54

Jiří Antonín Benda - Gott ist die Liebe
Year: c. 1760
Kantorei Santa Barbara/L'Estate Armonico/WiesIаw DeIimаt
Stefanie Dаsch/Soprano
Agnieszka Monаsterskа/Alto
Julio Fernández/Tenor
Simon Berg/Baritone
Rating: 4.25 Stars

Link

Jiří Antonín Benda - Gott steigt herab
Year: c. 1760
Kantorei Santa Barbara/L'Estate Armonico/WiesIаw DeIimаt
Stefanie Dаsch/Soprano
Agnieszka Monаsterskа/Alto
Julio Fernández/Tenor
Simon Berg/Baritone
Rating: 4 Stars

For this mornings sacred vocal music, I went back to Bohemia with an excellent suggestion for Jiří Antonín Benda. I knew it was an excellent suggestion less than a minute into the opening chorale it was like "yeah, I'm gonna like this!" I'm loving the four part choir, I'm loving the musical language, I'm loving the structure, I'm loving the vibe...

... then the chorale ended and the recitivo began and I forgot about all of that.... that voice! Soprano Stefanie Dаsch has the voice of an angel! I'm in love. She could sing the instruction manual to assemble your new Ikea coffee table and I'd love it.

All four movements add up to less than 9 minutes so I was easily ready for more choral music.... or maybe more Benda? Nope... more Dasch! So I went on a Dasch hunt, and all I turned up was her singing more Benda with the same crew. Cool, I'm definitely in. And the good news is the next piece is twice as long.

What a great way to start my Sunday!

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Fri, 23 Oct 2026 21:58:48 GMT

Author: Fischman

Posted: 10/24/2026 01:58

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Franz Joseph Haydn - Symphony #87
Year: 1785
Academy of St Martin in the Fields/Sir Neville Marriner
Rating: 4.5 Stars

By now, Haydn's slow introductions are no longer surprising, so surprisingly Haydn doesn't start with one. Quite the opposite, without warning, he launches directly into a mach 5 vivace. But that's not the only surprise here. There's an unexpected dead silent pause after which Haydn launches through a rapid fire sequence of unpredictable harmonic modulations. And that's all just in the first movement! There's extra innovation in this one, even by late Haydn standards and, not unexpectedly, it all works like a charm.

The adagio is strikingly lovely, with some perfectly exposed solo flute.The minuet is possible the best example of Haydn's singular ability to mix stately grandeur and informal wit. For the finale, we return to vivace, albeit a little less rapid than the opener, and the more relaxed nature of this closer allows an extra dose of wit and charm to shine through in a classic Haydn closer.

Dynamite from end to end.

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Fri, 23 Oct 2026 21:02:58 GMT

Author: Fischman

Posted: 10/24/2026 01:02

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Granville Bantock - Pagan Symphony
Year: 1928
Royal Philharmonic Orchestra/Vernon Handley
Rating: 3.75 Stars
Indulged my love of late romantic early 20th century symphonies with this new to me composer today. A variety of pagan themes makes a nice foundation for this six movement symphony. The reverence for nature is evident through much of the symphony, and it's nicely done. There's a big brass fanfare that seems a bit out of place, but it is well written. As good as the nature scenes are, the greatest fun came in the short third movement, the quite aptly titled Dance of the Satyrs. Yeah, I wanna party with these cats.

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Fri, 23 Oct 2026 10:40:59 GMT

Author: Fischman

Posted: 10/23/2026 14:40

I've dedicated the last few days' classical listening to the underdog; the oft negelected or forgotten viola, that potentially screechy alto string that lies between the soaring soprano of the violin and the deep, rich timbre of the cello. While violas are not uncommon, employing them as a solo instrument is.

I actually fell into this unusual mini-binge quite accidentally. I have always loved the Hoffmeister Viola Concerto since my earliest days of classical listening and had a craving for that. But while listening to it, I was reading up on it's history a bit and during that research, I stumbled upon the Puschmann, and decided to give that a go as well. And then the Puschmann led me to the Brixi which was on the same disc. And hey, since I loved the Czech Puschmann, and Brixi was also Czech, I had to give that a go. Fully ready to cap my listens as a trilogy, I then stumbled upon the Dittersdorf, so hey, what the heck, why not make it a foursome!

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Franz Anton Hoffmeister - Concerto for Viola in D Major
Year: 178?
The Gulbenkian Orchestra/Christopher Hogwood
Ashan Pillai/Viola
Rating: 4.25 Stars
Hoffmeister is the oldest of these four composers, having been born in 1754, roughly two decades after the other three. Maybe that's why this concerto sounds like it carries an extra dose of classical refinement relativeto the others here. But it's not just that refinement; he also writes melodies that reallly capture the type of expressiveness the viola can offer. This piece is a perfect marriage of line choice and orchestration. Oh, and speaking of the orchestra, Hogwood is the perfect conductor to make the accompaniment as much a joy to listen to as the wonderful solo instrument. Oh, and speaking of that solo, violist Ashan Pilla gets a tremendous amount of life to jump from the strings of his instrument. This is a wonderful performance of an equally wonderful piece.

Link

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Josef Puschmann - Concerto for Viola in D Major
Year: c. 1780
Czеch PhiIharmonic Orchestra/Andrеаs Sеbаstiаn Wеisеr
Jаn Pěruškа/Viola
Rating: 4.25 Stars
The name Puschmann just looks German to me, so I was surprised to see he was Czech. That said, this is clearly in the Viennese tradition with nothing particularly indicitave of the national origin of its composer. It's also an absolute joy to listen to. This performance places a little more demand on the soloist to carry it relative to the orchestra. Fortunately violist Jаn Pěruškа is mroe than up to the task. There are more rapid fire 16th note runs here and Pěruškа nails them as well. The third movement cadenza feels largely improvised, which tickled the ear of my inner Jazz fan. Another delightful listen!

Link

František Xaver Brixi - Concerto for Viola in D Major
Year: c. 17??
Czеch PhiIharmonic Orchestra/Andrеаs Sеbаstiаn Wеisеr
Jаn Pěruškа/Viola
Rating: 4 Stars
Joining Puschmann on this set of "forgotten Czech Viola" pieces is his more obscure countryman František Xaver Brixi, who delivers another lively bit of classical era joy. Joyful Individual melodies abound and violist Pěruškаreally makes them sing. Structurally, this piece is solid if slightly less masterful than the others. It is definitely one I will be returning to as well as having prompted me to want to seek out more from this previously unknown to me composer.

Link

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Carl Ditters von Dittersdorf - Viola Concerto in F majo
Year: c. 17??
Dvorak Chamber Orchestra/Frantisek Vajnar
Lubomir Maly/Viola
Rating: 3.75 Stars
In addition to having one of the coolest names in classical music, Ditters von Dittersdorf has provided me some very tasty listening when I've encountered him in the past. This one has little background, as even the date is unknown beyond the obvious "written sometime before his death." Thanks for that insight! It does sound the oldest of the three, not just because of the presence of a harpsichord (which actually should have been brought up a bit in the mix), but also stylistically it doesn't quite have the flair of later classical era pieces. This was a fine listen even if not quite so joyous as the other three.

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Tue, 20 Oct 2026 22:54:43 GMT

Author: Fischman

Posted: 10/21/2026 02:54

Bohuslav Martinů - Sinfonietta La Jolla in A Major for piano and chamber orchestra
Year: 1950
Prague Chamber Orchestra/Ondřej Kukal
Josef Hála/Piano
Rating: 4.25 Stars

Within the first few bars of this marvelous piece, I witnessed the unmistakable Martinů fingerprints on both harmonic structure and rhythmic patterns, which got me all giddy right from the start. I have heard Martinu be brilliant with a full orchestra and with a string quartet or solo piano. Now I've heard him be equally brilliant in the middle space between the those extremes. This piece is like the best of both worlds; big enough to bring full sonic possibilities to fruition but small enough that multiple voices get to shine. Interestingly, as the piece develops through its movements, the overt Martinůisms are gradually displaced by a less overtly Czech vibe and becomes distinctly more worldly. That sounds like a recipe for disappointment to me, but this is Martinů, and once again he nails it. Quite compelling stuff, really.

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Tue, 20 Oct 2026 16:28:11 GMT

Author: Fischman

Posted: 10/20/2026 20:28

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Anton Reicha - Wind Quintet, Op. 88 #2
Year: 1818
Albert Schweitzer Quintet
Rating: 4.25 Stars

Anton Reicha - Wind Quintet, Op. 100#4
Year: 1820
Albert Schweitzer Quintet
Rating: 4.25 Stars

I seem to have become a fan of chamber music for winds lately. Being a fan of Czech composers, it seemed only right I start checking out Anton Reicha, who wrote extensively in this format. As it turns out, my ear tells me he also wrote exceptionally well too! These are delightful works. The earlier of these two is almost universally considered the peoples' choice, and for good reason. It is loaded with wonderful melodies, all playfully interacting with each other. In no other quintet have I heard all five instruments share such equal footing, and they all make exceptional use of their part of the balanced approach. I think this is especially important in a wind quintet (more so than a string quintet) as each instrument has a different tone and timbre, even a very distinct personality. Reicha nails it. The latter work is a little less jaunty, but a little more deep in emotional expression and provides a nice contrast in approach. The variations contained within flow nicely and the canonical bits reflect both a mathematical precision and emotional expression. Two wonderful and unique works, each approaching perfection in what they do.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sun, 18 Oct 2026 15:54:15 GMT

Author: Fischman

Posted: 10/18/2026 19:54

Johann Christoph Altnikol - Frohlocket und jauchzet in prächtigen Chören
Year: 175?
Rhеinischе Kantorei; Das Klеinе Konzert; Hermаnn Mаx
Barbаra Schlіck (soprano); Hеіn Mееns (tenor); Hаrry van der Kаmp (bass);
Rating: 4 Stars

Had a great little vocal/choral discovery this morning. As I listened to this delightful bit of high baroque sacred music, I couldn't help but wonder what Altnikol's father in law, Johann Sebastian Bach, would have thought of it. This is well crafter baroque church music to be sure, and the interplay between the instruments and vocals is good enough to make the old master proud. Now it doesn't have that touched-be-the-divine level of sublime perfection i associate with the elder Bach, but you know what it is?

It's fun.

Church music isn't supposed to be fun, but this, at least for me, definitely crosses a fun threshold... and it does so without pandering, becoming lightweight, or losing its sacred identity.

Marvelous.

Who says we shouldn't be able to kick up our heels a little in the pews?

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sat, 17 Oct 2026 19:57:57 GMT

Author: Fischman

Posted: 10/17/2026 23:57

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Franz Joseph Haydn - Symphony #88
Year: 1787
Austro Hungarian Haydn Orchestra/Adam Fischer
Rating: 4.5 Stars
Autumn has arrived, which means its stuffed squash for dinner time. So I needed some music to stuff squash by. I decided Haydn's 88th should fit the bill. If I recall correctly, Haydn's 88th was the first Haydn I ever heard, and I instantly fell in love with it and thus I launched my now decades long love for Papa Joe's music. I grabbed Adam Fischer's recording, which could have gone either way. I love how Fischer treats early Haydn, but I feel he loses some of the weight of Haydn's more mature symphonies. With in the first few bars though, Fischer said relax, I got this; yes his treatment of ol' number 88 is dandy. Hit the spot just right. The balance of harmonies in the first movement was totally on point. I'd forgotten how dramatic the second movement can get and surprisingly, Fischer hits it full force yielding full impact. Perfect. The only disappointment came in the minuet, where his overly staccato style robbed the stately dance of some needed flow. But all was forgiven in the final movement, where we finish with the epitome of classical balance and style.

Ruth Gipps - Symphony #1
Year: 1942
BBC Philharmonic/Rumon Gamba
Rating: 4.25 Stars
While the squash was baking, I wanted something else to listen to, and having loved the Gipps Oboe Concerto, I decided to make a run at one of her symphonies. Fearing she wouldn't write a symphony as well as she wrote for her native oboe, my fears were quickly dispelled. Another magnificent piece. Her facility with gripping melody isn't dimished one iota! The first movement in particular is full of great melodic lines, sometimes reminiscent of Howard Hanson, which for me is very strong praise! Another strong winner!

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sat, 17 Oct 2026 11:45:00 GMT

Author: Fischman

Posted: 10/17/2026 15:45

Richard Strauss - Oboe Concerto in D Major
Year: 1945
Swedish Radio Symphony Orchestra /Daniel Harding
François Leleux/Oboe
Rating: 4 Stars

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I was in the mood for some oboe, maybe a little on the buoyant side, and settled on this canonical work by Richard Strauss..... and holy relentlessly light and lively melodies, Batman! It took me less than a dozen bars to figure out why this is so beloved a piece. I can't say I was always a fan of Strauss's grand orchestral, over the top statements. I put this on and it was paint me pink and call me a flamingo! This piece is scored for small orchestra, allowing the oboe to really shine without having to fight for its place on the stage. As delightful as the firs7 movement melodies are, the second movement melodies are equally lovely. In the third movement, the buoyancy of the lead instrument reaches its peak and the oboe and small orchestra dance together in a gloriously refreshing partnership. What a sweet piece.... and oboist François Leleux brings out all the expressiveness available in both the score and his instrument.

Link

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Ruth Gipps - Oboe Concerto
Year: 1941
BBC Philharmonic conducted/Rumon Gamba
Juliana Koch/Oboe
Rating: 4.5 Stars
After the Strauss, I decided that, as much as I enjoyed it, I was still in the mood for some more oboe, but maybe something a little less buoyant; something a little moodier where the oboe reaches a little deeper into its lower register a little more often, and maybe even does a little brooding. So I took a suggestion for this piece by Ruth Gipps, a composer I don't recall having ever heard.... aaaaaand....... holy stupendous suggestions, Batman! I fell right in love with this piece. Not quite as low and moody as I was hoping for, it nevertheless hit both my general everyday elements of appreciation and my current temporary mood right on target, dead center. I must surmise that, being an oboist herself, Gipps was especially well poised to maximize everything the oboe has to offer in a concerto. But in addition to the marvelous melodies spanning the instruments full expressive range, she has composed fantastic accompaniment and the way the solo instrument and orchestra circle around each other, sizing each other up, almost like a mating dance, is positively brilliant. While they ultimately arrive at the same place, it's clearly the solo character that is in charge as things come to a close, and in the context of this particular piece of music, that's a most wonderful thing.

I love discovering a new composer and really enjoying that introductory work such that it inspires me to seek out more of their ouevre, but with Gipps, I'm a little concerned about potentially seeking out more. This was so absolutely dead on perfect to my ear and my taste, that I fear it can only go downhill from here! Add to that her experience with the oboe and its obvious contribution to the magnificence of this piece, and I doubt she could write anything in any other format which could compare.

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Fri, 16 Oct 2026 08:36:55 GMT

Author: Fischman

Posted: 10/16/2026 12:36

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Ottorino Respighi - Pines of Rome
Year: 1923
Chicago Symphony Orchestra/Fritz Reiner
Rating: 4.25 Stars

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Ottorino Respighi - Fountains of Rome
Year: 1916
NBC Symphony Orchestra/Arturo Toscanini
Rating: 4 Stars

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Roman Festivals
Year: 1928
Pittsburgh Symphony Orchestra/Loren Maazel
Rating: 4 Stars

I recall making a run at both Pines and Fountains about 35 years ago. After going absolutely bonkers over Respighi's Ancient Airs and Dances, I just randomly grabbed whatever seemed to be most popular Respighi at the classical music store. I didn't really take to it. In retrospect, I think that was because I had my heart set on another Ancient Airs and Dances and these were something entirely different in every way; inspiration, era, orchestration, construction. Even as a neophyte, there was no missing Respighi's mastery of orchestration, but that wasn't really what I was looking for. Now with much broader experience and musical understanding, I thought it might be a good time to make another run at The Pines, especially as that was the sort of the thing I was in the mood for. And yes, I loved it. The exuberant opening movement seemed like it might be more worthy of being one of the Roman Festival than the Pines, but it was certainly fun, and the contrast made the mysterious pines of the second movement even more powerful. After the fun and the mystery, the third movement brings us serenely compelling nocturnal beauty.... and live birds! Finally, the closer brings us a massive climax that seems it could blow us right out of the concert hall! Yeah, there is much to love here, rather shocking that I didn't immediately take to it early in my Classical journey as Respighi is oft cited as gateway classical and this is one of his most beloved pieces. It's amazing what very specific expectations can do. Fritz Reiner's reading with the Chicago Symphony Orchestra is generally considered the gold standard for this piece and I can see why; Reiner deploys his orchestral forces brilliantly, emphasizing exactly the right level of emphasis from each and every instrument at exactly the right time, so important in maximizing the effect of a piece so dependent on orchestral colors to make its point.

Well, having enjoyed the Pines so much, I figured why not go ahead and take on the whole Roman Trilogy, Although Reiner is again the obvious choice for the Fountains of Rome, I wanted to listen to another interpretation and ended up with Toscanini, who it turns out was a contemporary/good friend of the composer and who was intimately familiar with the piece. That familiarity shows in his reading with the NBC Symphony Orchestra. Toscanini really gets inside the piece and every bar of this music seems to grow organically from the origin of its composer's musical mind. The cool thing about the program for these for impressions of Roman fountains is that they proceed through the day, the first fountain visited at dawn, the next in the morning, one at noon, and one at sunset... and yes at each juncture, Respighi's score (and Toscanini's interpretation) bring out the time of day as well as the impression of the fountain itself. Of particular interest is that the world famous Trevi Fountain is the one visited at noon, and the music gets a little loud and even pushy, as various parts of the orchestra seem to be trying to push each other out of the way; it's almost as if Respighi could foresee the coming hordes of tourists jockeying for position in the midday sun to get a glimpse of the famous landmark!

Enjoying trying out a different conductor for each, I grabbed Loren Maazel's recording of the Roman Festivals with the Pittsburgh Symphony Orchestra. The Roman Festivals begin with a real wake up call from the brass announcing the Roman circuses, bringing pageantry of the spectacle to full musical display. Interestingly, the second movement is calm (not unexpected for a second movement after so rousing a first), but it's called "Jubilee," a word that, at least to me, announces something more lively. But it's pretty and serves as a good palette cleanser between the boisterous opener and the coming "Harvests of October," a magnificent blend of pastoralism and excitement. Once more, in this suite, Respighi brings everything to a massively rousing close. The performance and recording were quite good here, even if not as renowned as some other recordings.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Wed, 14 Oct 2026 20:52:43 GMT

Author: Fischman

Posted: 10/15/2026 00:52

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Vitezslav Novak - South Bohemian Suite
Year: 1936-1937
Brno State Philharmonic Orchestra/Jaroslav Vogel
Rating: 4 Stars

I have loved everything I've heard from this composer and, with my inner Czechophile coming to the surface today, I decided to give his South Bohemian Suite a run.
Another perfect choice!

This unique, four movement suite takes me right back to the old country. The first movement, "Pastoral Horizons," is aptly named. My first thought was this wouldn't be out of place setting the stage in Janacek's The Cunning Little Vixen. This is not to say that Novak sounds like Janacek, but rather that it sounds like both of these pieces feel like they come from the same place, which is a testament to both composers' connection to their rural countryside. In both cases, they help me feel that connection and it's beautiful. The second movement, "Reverie: Forests and Ponds, isn't quite so aptly named; "reverie" to me implies something pretty lively, and this is a slow movement throughout, but with an occasional breeze in the forest or bubble in the pond. Slow or not, the beauty actually exceeds that of the first movement, as if the first movement was really setting the stage for this, and this capitalizes on that foundation. The third movement, "Once Upon a Time: March of the Hussites," is a great listen independent of program, but probably wouldn't have reached me at the same level had I not recently traveled to Czechia and learned a good deal of Hussite history. There is a march here, but not a pure one; more just enough of one to have character matching the program while sitting next to all that pastoral beauty. There is a very short 4th movement, "Epilogue: I Greet You, My Homeland!," that rounds out the suite as a genuine ode to a beloved place

Link

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Vitezslav Novak - Slovak Suite
Year: 1903
Royal Liverpool Philharmonic Orchestra/Libor Pesek
Rating: 4.5 Stars
One good suite deserves another, eh? So I grabbed Novak's earlier Slovak Slovak Suite, inspired by his visit to Moravia where he encountered and developed a love for Moravian/Slovakian folk song. Like the South Bohemian Suite, I checked into this listen without researching anything ahead of time. Immediately in the first movement, I got a strong chorale vibe, so even without overt church references, it seemed to me to be inspired by church music. The later appearance of an organ seemed to confirm this. Upon studying the piece afterward, I learned the first movement is titled "At Church." I could claim to have a discerning, ear, but instead, I'll give credit to the composer for being effective in delivering his program. Oh, and this movement is, if anything, even more beautiful than anything in the later South Bohemian Suite! The second movement brings the fun, but in a remarkably sweet and gentle way. It is entitled "Among the Children," maybe not something I would have guessed with precision, but it certainly fits! The third movement, "Two in Love" begins with all the lush romanticism you'd expect from such a title, but A minute and a half in, we get an unexpected shift to something more likey, which gives way to the original more peaceful vibe before combining the two thoughts into a coherent synthesis, which I take to represent the quiet and the more exuberant phases of a loving relationship. Now unlike the South Bohemian Suite, the Slovak Suite gives us five movements, the fourth being "The Band." This is where the Moravian folk song flavor is most evident, and it's a joy to listen to, with these exuberant tunes given a thoroughly romantic treatment. So what do you do after you party? If you're like most of us, you need a rest. The final movement is "At Night." At almost 12 munites (contrast that with less than 2 minutes for the final movement of the South Bohemian Suite), one would think it would throw off the balance of the piece, finishing with such a long, slow movement. But not so! First of all, Novak maximizes the beauty quotient again, with harp and flute gently floating atop lush and soothing strings in the most gorgeous of lullabies. How odd that, after 12 minutes of gentle serenade, I feel like raising both hands as if to signal "Touchdown!" and shout "Bravo! Bravo!"

Link

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sat, 10 Oct 2026 08:53:18 GMT

Author: Fischman

Posted: 10/10/2026 12:53

Wolfgang Amadeus Mozart - String (viola) Quintet in G Minor
Year: 1787
Alban Berg Quartet
Rating: 4.25 Stars

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Wolfgang Amadeus Mozart - String (viola) Quintet in G Minor
Year: 1787
Talich Quartet
Rating: 4 Stars

I was in the mood for a Mozart quintet, and landed on this surprisingly tragic work, coincidentally from the same year as the great Haydn quartet I just listened to . I'm always interested in the selection of additional instrument for a string quintet, viola or cello, and how is that to be employed. Each brings a very different additional voice and requires significantly different execution to achieve the right balance. But hey, this is Mozart we're talking about here.... we could hand him a trombone, glockenspiel, two kettle drums and a kazoo and he'd bring back something that is the epitome of classical balance.

But I wasn't so sure in the first movement. That second viola spends a lot of time mirroring the first viola and the second violin to the point that it seemed rather redundant, especially since the three of them spent most of their time providing an ostinato for the first violin to ride upon, and the cello, already outnumbered at this point, seemed underused. But there was no denying the beauty of that violin line, and the trio of middle strings were instrumental in creating the tragic atmosphere, so still a good listen.

The minuet comes second in this piece, but it's hardly a dance movement at this point. The dark mood remains, and there's plenty of tempo changes, so I can't imagine actually dancing to it, with or without powdered wig. But that's okay as its a powerful, moving piece, and Mozart ends up being quite brilliant in how he takes what is traditionally the lightest part of a work and makes it extra deep.

Although in a major key (Eb), the third movement plumbs the depths even further. Slow and wistful, it also includes long stretches of syncopated eighth notes.... look, it's classical reggae! Not really a recommendation in my book, but of course Mozart carries it off in wondrous fashion. None other than Tchaikovsky said of this movement, "No one has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow."

The final movement kicks off with an absolute dirge, still slower and darker than all the movements preceding it before launching into a much brighter allegro that resolves things much as you might come to expect from Mozart. However, while many experts play up the contrast, as if everything has turned into rainbows and unicorns, I actually hear it a little differently. To my ear, the darkness has not fully dissipated, but rather; it still exists, but the theme seems to be that we have learned to coexist with it, and that understanding is what brings the relative lightness we're now enjoying.

I gave this two listens, first by the Alban Berg Quartet and then by the Talich Quartet. The first is astonishingly crisp and precise with the latter being more emotive. Being that this is a relatively dark and heavily emotive piece, I would expect the Talich to be the better approach, but ironically it seemed the crispness of the Berg brought out the message with greater clarity. Both solid performances to be sure, but I can really see myself reaching for the Berg first in most cases.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Wed, 7 Oct 2026 22:09:50 GMT

Author: Fischman

Posted: 10/08/2026 02:09

Franz Joseph Haydn - String Quartet, Op. 54, #2
Year: 1787
London Quartet
Rating: 4.75 Stars

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After thoroughly enjoying the first three of Haydn's op. 50 quartets, I was reading up on them via various sources and stumbled upon a proclamation by David Hurwitz (a critic with whom I share much taste in common) that Haydn's Op. 54, #2 is his "most extraordinary quartet." Now that's a bold claim. Now Mr. Hurwitz, have you heard Op. 76 or Op. 77? Really... think about what you're saying!

But such a claim from such a reputable source demands investigation, so I decided to make fresh run at this extraordinary quartet. So what did I encounter?

Well. To kick things off. The first movement may have Haydn's most effective counterpoint, which itself is no small claim now on my part. But I was amazed and for now, I'm standing by that claim.

The four parts start off the second movement like a sort of four part chorale for strings, and it's beautiful, as well as an effect I never expected to hear in a classical quartet.

The third movement starts off slow, builds drama. And as it proceeds to a menuetto allegretto, the London Quartet makes extremely effective use of accelerandos and retards, allowing tempo to make this a nonstandard and continually interesting dance movement.

But even after all that, the biggest surprises come in the final movement, marked adagio/presto/adagio. Now by this time, we've gotten used to Haydn opening a fast movement with a slow introduction in a Symphony... but in a quartet? And always in the first movement, but the fourth? And then the biggest surprise is het to come. That opening adagio isn't just a brief introduction; the presto doesn't appear until we're 4 1/2 minutes into a movement that's all of 6 1/2 minutes long. And there's another adagio coming to close the piece (another nonstandard element), so that presto goes by really fast. So out of an entire traditionally fast movement, we get all of about a minute of presto..... and it works brilliantly! Really, it's as satisfying a final movement as I've heard.

So in the end, I can understand Hurwitz's claim. It is indeed a massively extraordinary quartet. Haydn's "most extraordinary?" Possibly. It may not displace my favorite (that would be Op. 76, #4), but I do love it through and through, and not only that, I have a level of respect for it commensurate with my emotional appreciation for it.

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Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Tue, 6 Oct 2026 17:33:15 GMT

Author: Fischman

Posted: 10/06/2026 21:33

Johann Baptist Vanhal - String Quartet in G Major, Op. 6, no. 1
Year: 1780
Kubin Quartet
Rating: 4 Stars

The same recommendation that brought me Haydn's quartet 50/3 also brought me this one. Seeing how brief this was, I was happy to give it a go even though I'd just completed over an hour of Haydn quartets. Vanhal was a contemporary of Haydn's, this quartet being written seven years to Haydn's Op. 50.

So, as I launched into this thing, the first thing I noticed was that this is, as if it was even possible at this point, even more amiable than the first movement in Haydn's Op. 50 #1. Again, like being greeted warmly by an old friend, but maybe a slightly more casual, less deep friendship. The second movement was then a slight shock, but in the best possible way, as it brought some real mystery into the equation, as if to say "okay, so this friend has changed since I last saw him.... how do I now approach this relationship?" The third movement was fine, nothing earth shattering, but served as an adequate closer (this quartet has but three movements). I won't fault it because really, the first two movements raised the bar so high, I can't imagine anyone having a closer fully up to the task. Sill, a very satisfying overall listen, and with less than 12 minutes total investment, it was good pleasure bang for your time buck.

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Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Tue, 6 Oct 2026 17:08:43 GMT

Author: Fischman

Posted: 10/06/2026 21:08

Franz Joseph Haydn - String Quartet, Op. 50, #3
Year: 1787
Tokyo Quartet
Rating: 4.25 Stars

Franz Joseph Haydn - String Quartet, Op. 50, #2
Year: 1787
Tokyo Quartet
Rating: 4.25 Stars

Franz Joseph Haydn - String Quartet, Op. 50, #1
Year: 1787
Tokyo Quartet
Rating: 4.5 Stars

I ended up listening to the first half of the Haydn Op. 50 set in reverse order. This was due to the #3 coming to me as a recommendation and, as expected, I loved it, so I had to check out the first two. They managed to be even better to my ear! (which is in no way a slight against the third; it truly is wonderful.

As in checking out an either new-to-me or less familiar Haydn Symphony, I love doing the same with has quartets. As many of them as there are, I know I'm always going to hear something unique or innovative, some way in which Haydn is combining things differently or moving the art forward.

What I got in the third kicked off right in the first movement. There was an unusually strong voice in the viola, the oft forgotten stepchild of the string world. The second movement seemed to be pretty rote to start off with, but halfway through the movement, it went through a dramatic transformation that really shook things up, in a very good way. The third movement did much the same and I was just loving all the unexpected twists and turns that always engaged but never disrupted. The final movement Is one of Haydn's more rousing closers, but I thought it came to a rather abrupt close (not quite Monty Python and the Holy Grail abrupt, but still not offering the full resolution I'm used to with Haydn.... maybe this was another "surprise"). But my fascination with his employment with the viola ran pretty much throughout. Haydn has the viola often doubling the 2nd violin, then branching off and running an inverse line

Stepping back to the second quartet in the set, I found it to be at least the equal of the first, maybe even a tiny notch above. It was a little more serious/dramatic, and it definitely had more of what I would call "punctuation." How much of that was the composer's intent and how much of it was a stylistic choice by the Tokyo Quartet, I don't really know, but I do know it worked. And again, Haydn pulled off those dramatic transitions midway through the middle movements.

After all that, I had no reason to think I'd be digging the first quartet even more.... but I did. The first movement was particularly amiable, even by Haydn standards, which is really saying something. It was like a warm greeting from an old friend. The second movement was just incredible, introducing some serious gypsy music we don't normally associate with Haydn, and it was way cool! The third movement was impressive, and most welcome, as it's the first time in the set I heard the cello really get to be the anchor, centering the piece. . In the final movement, Haydn goes hog wild with syncopation and damn is it lively! Yeah, it rocked.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sun, 4 Oct 2026 15:56:05 GMT

Author: Fischman

Posted: 10/04/2026 19:56

Claudio Monteverdi — Vespro della Beata Vergine
Year: 1610
John Eliot Gardiner - Conducter
The Monteverdi Choir
The English Baroque Soloists
The London Oratory Juniors Choir
Ann Monoyios - Soprano
Marinella Pennicchi
Michael Chance - Counter Tenor
Nigel Robson - Tenor
Mark Tucker - Tenor
Sandro Naglia - Tenor
Bryn Terfel - Bass
Alastair Miles - Bass
Basilica di San Marco, Venice. 1990
Rating: 4.5 Stars

Rinaldo Alessandrini, Concerto Italiano
Rating: 4.25 Stars

Never thought I'd get around to this.
I originally had no interest in vocals in my classoal music
Then came Beethoven's 9th.
But that's it
But then came Novak's Slovak songs.
Okay, now I'm sure that's it.And I surely don't want any slow vocals!
But then came Gorecki's 3rd.
Okay, now I've found my real boundary, and I'm never going to like any church music!
Well, tn in walks J.S Bach, cantatas in hand. Wow!
But hey, that's Bach, eh? No reason to think anyone else can impress me like that.
And there's certainly no reason to travel back another quarter century from that!, right?

Well, actually there is... because this Monteverdi cat can write!

I went into this blind other than trying to pin down the best recording among the many available. The consensus pointed heavily to Gardiner's 1990 reading so that's what I went with.

....and...

Ahhhhh, the glory of the human voice as a musical instrument as opposed to just a deliverer of lyrics! Magnificent! Whether male or female, solo, duo in counterpoint, or full choir... beautiful.... and oh, so.... musical!

And yes, this performance is incredible. From the glory of the dueling tenors in Duo Seraphim, the beautifully combined choirs of the Nisi Dominus, to the fantastic counterpoint between vocalists and instruments (corners in particular) in the Sancta Maria, every last nook and cranny of this monumental work has something fresh to say, and say it it does in a most beautiful way.

That Monteverdi could write something so expansive, with such going on at times, and still keep individual lines distinct, is incredible. That an ensemble can keep that clarity while being so overwhelmingly grand even more so.

So while this was my first and only Monteverdi Vrspers so far, I was quite confident I had indeed selected the best version. No need to go seeking any other.

But after listening mostly blind, I did a little more research and learned Monteverdi left a lot of room for interpretation and different conductors take good advantage of this freedom. So I just had to grab another. Luckily, I managed to grab a less grand, more personal version which provided good contrast. Rinaldo Alessandrini and Concerto Italiano give us a more intimate reading that seems no less valid. I'll probably always gravitate a little more often to the Gardiner, but I can certainly see there being times where my mood might dictate I grab the Alessandrini.

So almost 4 hours of vocal church music for a guy who thought he didn't like it, and found himself loving every minute of it... not bad, eh?

Link

Thumbnail. Click to enlarge.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sat, 3 Oct 2026 17:42:58 GMT

Author: Fischman

Posted: 10/03/2026 21:42

Jean Françaix — Clarinet Quintet
Year: 1977
The Gautier Ensemble
Richard Hosford/Clarinet
Rating: 4 Stars

Thumbnail. Click to enlarge.

This delightful bit of chamber music has an interesting structure. The five parts, including both the strings and solo instrument, start out simultaneously and in complete harmony. There's no struggle between voices whatsoever. It's beautifully pleasing to the ear, but left me wondering where we might go from here; it was as if we started with the resolution.

Two minutes in, the clarinet makes a brief solo statement that completely changes the pace of the piece. The strings then take over and create an environment for the clarinet to inhabit, which it does mostly through bouncy intersections. What I really like about the balance of this movement is how the environment created by the strings seems complete with or without the bubbly character of the clarinet bouncing through. The relationship seems superficial, but its funny the movement leaves the listener wondering if this is a fleeting event, or will the protagonist actually inhabit the environment or just dance above it.

In the second movement, the strings seem to try to draw the clarinet in, first with little success as the clarinet continues on its frivolous way. But eventually, our main character has to respond to the environment, and in doing so, starts to meld with that environment despite its original bias.

Through the first two movements, soloist Richard Hosford made the most of that light and lively tone, but in the third, our first fully proper slow movement, is where he really shines. Slow often comes with low, and when Hosford takes his clarinet into its lower register, the frivolity transitions to sublime beauty. So this is what we (strings and soloist) can accomplish when we work together! The third movement runs just over 5 minutes: about 15 seconds before the end, I could hear it getting ready to close and all I could think was "noooooo.... it's too soon!"

Of course in the final movement, a lively rondo, we're nack to rapid, lively figures from both the strings and wind, but now, they're more fully inhabiting the same space, but fortunately keeping their personalities intact.

Did I say this piece is delightful? Oh, yeah.

Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Mon, 28 Sep 2026 18:22:49 GMT

Author: Fischman

Posted: 09/28/2026 22:22

Miloslav Kabeláč - Symphony #3 for Brass, Organ, and Timpani
Year: 1957
Alena Veselá /Organ
Brass Harmonia/Libor Pešek
Rating: 4.5 Stars

Y'know, I'm not sure I can yet say with absolute certainty that there is undeniable objective proof justifying a 4.5/5 for this work. If anything, I could more easily point to elements that could just as easily argue the contrary. But it definitely struck me as such, so I'm happy to score it thusly.

There are no strings here. "You can't write a whole symphony without any strings!", you say? Kabeláč says "Hold my pilsner."!

At the tactical level, his juxtaposition of borderline sinister organ and heroic brass is unusual, and he uses it to great effect. At the strategic level, his subtle shifting of the roles of each, and especially the power dynamic between them makes their employment rather brilliant.

But the most amazing thing about this symphony at the macro level is the sustained intensity. Any time a piece is one thing throught, that one thing invariably loses its effect, right? We all know that 20+ minutes of unrelenting virtuosity is problematic... if all the notes are fast, then none of the notes are fast. If every measure of a piece is over the top climax, there is no climax. And so on.

Again, Kabeláč says "Czech this out!"

For over 20 minutes, the intensity (again packaged without the benefit of a full orchestra) never relents. But somehow, Kabeláč achieves enough contrast to keep the intensity from ever losing its potency from the opening fanfare right up through the final horn call. Astonishing.

Okay, now that I think about it, I'm going to retract my opening statement and say unequivocally that this piece earns every bit of those four and a half stars.

Either that or I'm just being a Caechophile fan of again.... nah, I'm sticking with the rave without excuse.

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Re: My Longhair Diary: Giuseppe Ferlendis

Fischman — Sun, 27 Sep 2026 12:43:09 GMT

Author: Fischman

Posted: 09/27/2026 16:43

Leoš Janáček - The Cunning Little Vixen
Year: 1923
Rating: 4.25 Stars
Sharp-Ears (Vixen)- Elena Tsallagova
Forester- Jukka Rasilainen
Forester's Wife/ Owl- Michèle Lagrange
Fox- Hannah Esther Minutillo
Schoolmaster- David Kuebler
Parson- Roland Bracht
Harsta- Paul Gay
Director: André Engel.
Opéra national de Paris, Dennis Russell Davies

While I've never been big on opera, today, I decided to do a little experiment.

I love the Czech language. I find the rhythm of the Lang fascinating and its pacing is a delight to my ear.
Although I am a relative neophyte to vocals in my classoal music, I have come to love art song sung in Czech
So why not make a run at a Czech opera? Maybe I'll get into the vocals more if they're in my favorite language? Janáček specifically wrote The Cunning Little Vixen to capitalize on the natural inflection and rhythm of the Czech language.

Well, it turns out that the natural rhythmic meter of the Czech language gets a little lost in the richness of operatic singing. Just a little. So I didn't get quite as much a bump in appreciation based on the language as I anticipated.

So was the experiment a failure?

Not at all.... I just loved the opera!

From the onset, the music was stunningly gorgeous. The pastoral music in the opening act was almost incomprehensively beautiful. Janáček eschews has usual moderism/angular melodies for the most glorious swirling melodies and impressionistic musical picture painting, and it's undeniably glorious!

I liked the story, especially the social themes and especially the defiant strength of character of the central characterthat gives the opera its name. I liked the sets. I loved the acting. And yes, I very much enjoyed the singing. Even when I kinda like some opera singing at the outset, it reaches a point of annoyance long before the theatrical presentation is over. Not here! I loved the third act as much as the first.

I can't deny that I was emotionally struck when the cunning little vixen met her end. Of course it didn't hurt that soprano Elena Tsallagova is herself naturally stunning.

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