Best Ever Albums

Re: My Longhair Diary: Four Related Pieces

Fischman — Sat, 7 Nov 2026 15:23:28 GMT

Author: Fischman

Posted: 11/07/2026 20:23

These four (+1 I added) comprise one of the listening groups from David Hurwitz's Beethoven or Bust. I found it to be a rewarding series, although mor for the individual pieces than for the sort of academic compare and contrast study Hurwitz proposes.

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Manuel De falla - The Three Cornered Hat
Year: 1919
L'Orchestre De La Suisse Romande/Ernest Ansermet
Rating: 4 Stars
Iberia, Bolero, Carmen, Leyenda.... all gret, and of course Concierto de Aranjuez is thoroughly glorious; but I don't think anything quite evokes images of España quite like this. What fun this is to listen to! While I don't care to watch ballet, I do think I'd like to see a production of this; as I understand it, the dance incorporates Spanish style rather than being straight ballet.

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Franz Schreker - Chamber Symphony
Year: 1917
Camerata Academica Salzburg/Franz Welser-Möst
Rating: 4.25 Stars
This piece is as lush and irrepressibly beautiful as the previous one is Spanish. You'd be hard pressed to find another piece of music that so perfectly brings together gorgeous melody and sumptuous orchestral color. I also love how all movements are blended into one continuous piece; the transitions are gradual rather than the traditional clean breaks, and in conjunction with this lush melodies, it works to create a powerfully unique and special listening experience.

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Igor Stravinsky - Petrouchka
Year: 1911
Orchestre Du Concertgebouw D'Amsterdam/Hans Rosbaud
Rating: 3.25 Stars

Link

Igor Stravinsky - Petrouchka
Year: 1921
Maurizio Pollini/Piano
Rating: 4.5 Stars
Stravinsky was the one to get me over my aversion to ballet music via The Right of Spring and The Firebird, which had me excited to finally get around to checking this out. Alas, I didn't find it nearly so interesting and entertaining as the others. The music itself didn't so grab me; additionally, this one seemed not fully complete as stand alone music independent of the ballet... as if incomplete on its own.

Having learned that Stravinsky subsequently composed a piano version, i became curious although I had no expectation I would like it as much. Again I was wrong.... really wrong! This thing totally kicks butt! Freed from the requirement to accompany dance, Stravinsky wrote a truly astonishing piano work! The virtuosic demands are totally off the hook and the structural development is solit. Together, this thrilled me to a wholly unexpected degree.

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Arnold Schönberg - Chamber Symphony #1
Year: 1906
Orchestre du Domaine musical/Pierre Boulez
Rating: 3.75 Stars
Another chamber symphony here, but instead of being intensely lush and melodic, this one inhabits a much more austere and challenging environment. But it's not severe for severity sake, it just sounds that way at first due to Schönberg's use of fourths rather than the more easygoing thirds to build triads. It'll never have that gorgeous, lush feel, but once the ear adapts, it does have a sort of austere beauty, and that nicely feeds the structure of the piece, making for another uniquely satisfying listen.

Re: My Longhair Diary: Four Related Pieces

Fischman — Tue, 3 Nov 2026 22:17:37 GMT

Author: Fischman

Posted: 11/04/2026 03:17

Isidore Bertheaume - Symphonie concertante pour deux violons, Oeuvre VI
Orchestre de Chambre Louis de Froment/Louis de Froment
Pierre Doukan, Robert Gendre/Violins
Rating: 4 Stars

Link

Two violins
Two movements
Too good!

This peace exudes a uniquely casual elegance combined wur relaxed but irrepressible joy, the former coming from the orchestral accompaniment and the latter coming from the first soloist the second soloist does manage to remind us that reality exists, but does so without raining on our parade. The second movement gets a little more formal but without infringing on that fresh, light air, as if to say "We're going to have some structura here.... but don't worry, not so much as to cramp your style." On the contrary, I can't listen to this without feeling uplifted, and like the world is full of possibilities!

Re: My Longhair Diary: Four Related Pieces

Fischman — Mon, 2 Nov 2026 15:11:28 GMT

Author: Fischman

Posted: 11/02/2026 20:11

Leopold Koželuch - Piano Concerto #1
Year: 1784
Tomas Dratva/Piano
Slovak Sinfonietta Žilina/Oliver von Dohnanyi
Rating: 4.25 Stars

Link

Now this was a joyous discovery! This is a most delightful piano concerto that thoroughly tickles my ear. The piano in the first movement lights up the keyboard with virtuosic demands that are both musically interesting and just plain fun to listen to. The second movement, an adagio, still has plenty of 16th (and even some 32nd) notes, but they are handled by the soloist with such delicacy that the middle movement still fully serves its purpose of providing contrast. For the final movement, a gloriously lively rondo, prepare yourself for rapid fire variations and modulations that may keep you guessing, but will always keep you entertained. I didn't know whether to tap my toes, bob my head, or get up and dance! (I'm sure any would have been acceptable)

While this squarely in the classical realm and precedes the later nationalist Czech romantic and 20th century movements by a century or more, that unique sort of Czech rhythmic flair gives this piece a measure of uniqueness and special interest that really elevates this piece for me. Interestingly, that unique rhythmic approach isn't just in the support by the symphony, but is especially meaningful coming from the soloist. How and when the piano enters a line, how it punctuates that line, and when it exits that line all bears a distinct imprint that is Viennese in form and foundation while being notably Bohemian in execution, giving me a unique blend that, to my ear, fuses the best of both worlds. I look forward to exploring Kozeluch's other piano concertos... and symphonies... and anything else this Bohemian badass may have written!

Re: My Longhair Diary: Four Related Pieces

Fischman — Sun, 1 Nov 2026 13:49:18 GMT

Author: Fischman

Posted: 11/01/2026 18:49

Johann Caspar Aiblinger - Missa Advocata Nostra
Year: 1830
Vokalensemble Musica Bаvаrica/Alois Kirchbеrgеr
Rating: 4 Stars

Link

Another sacred music Sunday with a bit of a surprise. First, this is later than my preferred baroque era for such music. Second, and even more surprising is that all six movements here are an the slower side. But the variety (and subsequent interest) comes in how Aiblinger varies not tempo, bot how the voices blend from movement to movement, always keeping hold of my attention in ways more subtle than usual. I liked this a lot more than a basic description might have led me to believe.

Old memories

Musicbuff123 — Sat, 31 Oct 2026 18:09:43 GMT

Author: Musicbuff123

Posted: 10/31/2026 22:09

...it sounds so familiar..I started to listen to it and could swear I know this....it's a beautiful piece of music

Anyway, I've added it to my wishlist to add to my meagre classical collection

Thanks �'�🏽

Re: My Longhair Diary: Four Related Pieces

Fischman — Sat, 31 Oct 2026 17:39:38 GMT

Author: Fischman

Posted: 10/31/2026 21:39

Ernst Eichner - Sinfonia in D Major
Year: 1775
Kurpfälzischеs Kammerorchester/Hans Oskar Kοch
Rating: 4 Stars

Link

This wonderful classical sinfonia comes late in Eichner's career and it's evident he has by this time mastered both form and expression. The opening movement is quite sprightly and the scroe demands a particularly crisp delivery, which this ensemble doesn't always fully manage. The thing they do do exceptionally well is bring out the contrasts between the sprightly parts and the darker minor key interludes. The biggest surprise comes in the second movement where the melodies, without being obviously cyclical, provide tremendous continuity despite it being a slow movement. How often are slow movement melodies sprightly? But they are here.... and it works. The final movement brings a Triumph of grand stateliness without becoming staid. Very nice.

Re: My Longhair Diary: Four Related Pieces

Fischman — Sat, 31 Oct 2026 14:50:00 GMT

Author: Fischman

Posted: 10/31/2026 18:50

Friedrich Gernsheim - Symphony No.1 in G-minor, Op.32 "Seiner theuren Mutter"
Year: 1875
Rheinland-Pfalz State Philharmonic Orchestra/Siegfried Köhler
Rating: 4 Stars

Link

This is a seriously Brahmsian symphony (particularly the first movement).... which is especially surprising since it was published over a year before Brahms completed his first. Clearly the two composers were subject to the same musical forces and similar musical inspiration. While this may not display the same level of musical genius as Brahms across all four movements, it's still a most worthy listen and if you love Brahms and have exhausted his catalog, this is a worthy addition to your listening repertoire.

Re: My Longhair Diary: Four Related Pieces

Fischman — Thu, 29 Oct 2026 20:48:24 GMT

Author: Fischman

Posted: 10/30/2026 00:48

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Tālivaldis Ķeniņš - Violin Concerto
Year: 1974
Latvian National Symphony Orchestra/Andris Poga
Eva Bindere/Piano
Rating: 3.75 Stars
Due to his study in France, life spent in Canada, and his having been declared degenerate by the communist regime in his homeland, the music of Latvian composer Tālivaldis Ķeniņš was little known in his native country. Rather than try to explain his violin concerto myself, I'll simply relay the words of our soloist upon her learning of, and preparing to perform the piece:
I was struck by the brightness of the solo line, the bursts of colour and complex orchestration. There was a very intelligent mind behind this music and after receiving the score I could see how accomplished Ķeniņš was. His writing is exceptionally refined, technically virtuosic, full of life and colour, and of a genuinely world-class quality. Who was this man and why did I, and indeed the wider music world, not know more about his music?

Tālivaldis Ķeniņš - Concerto for Five Percussionists and Orchestra
Year: 1983
Latvian National Symphony Orchestra/Andris Poga
Rating: 4.25 Stars
As impressive as that violin concerto is, I was blown away by the percussion concerto. The mix of five percussive instruments as the focus of the music is fascinating. Having traditionally supporting, rhythm focused instruments take the lead can be tricky, but Ķeniņš executes it in convincing fashion. Despite the unorthodoxy, this piece makes absolute, total sense to me more so than the sometimes wandering violin concerto.... and it's just a helluva lot of fun to listen to!

Tālivaldis Ķeniņš - Beatae Voces Tenebrae
Year: 1977
Latvian National Symphony Orchestra/Andris Poga
Rating: 4.25 Stars
The 13 minute add on to fill out the disc was a fantastic surprise; a gripping modern tone poem, not at all just filler.
Beatae Voces Tenebrae translates to "Blessed Voices in the Darkness," you'd never guess it; this thing is ominous! Well, at least at first. Ķeniņš gradually uses his avant garde language to transform that darkness into light but without abandoning his thoroughly unique, modern language. In the end, it's all quite compelling.

Re: My Longhair Diary: Four Related Pieces

Fischman — Wed, 28 Oct 2026 21:46:23 GMT

Author: Fischman

Posted: 10/29/2026 01:46

Jakub Golabek - Sinfonia in D
Year: 1773
Orkiestra KameraIna FiIharmonii Poznańskiej/Robert Satanowski
Rating: 4 Stars

Link

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A very nice classical sinfonia from Polish composer Jakub Golabek here. There's a wonderfully galant slow movement sandwiched between two delightfully melodious outer movements. There is a captivating vitality that permeates this entire sinfonis. An obscure hidden gem this is.

Re: My Longhair Diary: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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: Four Related Pieces

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.