Post subject: My Longhair Diary: American Oboe Music
When I opened my jazz diary, I threatened to do a classical diary as well. The title comes from my dad who found it odd when I began listening to "longhair," his work for classical music. He had no interest in all that "high falutin'" music. While it was a few years later before I took to classical, a full fledged explosion of interest and appreciation took off in my late twenties. Three decades later now, I find it useful to keep some notes on my listens. Unlike my threat in the jazz diary opener though, I'm not going to focus primarily on lesser known works, or even anything in particular. This will be a largely random, whatever-strikes-me-at-the-moment hodgepodge of classical music in all its forms and time periods.
So it's time to let the hair grow (or put on the powdered wig) and listen to some classics!
Last edited by Fischman on 4 days ago; edited 138 times in total
Franz Joseph Haydn - The Seven Last Words of Christ on the Cross Year: 1786 (orchestral version), 1787 (string quartet version), 1796 (choral version)
Nikolaus Harnoncourt / Concentus Musicus Wien
Rating: 4.5 Stars
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While I'm not really a person of faith (and not so much a fan of choral music), I still thought it appropriate to check out this oratorio on this Easter Sunday. Besides, I'm a sucker for pretty much anything Papa Haydn did.
Language and religious barriers aside, I absolutely loved listening to this. Haydn masterfully deploys his chorus and soloists every bit as deftly as he does his orchestra and soloists in any of his symphonies or concertos. He also brings and extra level of romantic drama to this classical period piece, which Harnoncourt exploits to the fullest. After all, this is a crucifixion.... there should be some anguish, right? Since Haydn excels so greatly at joyous or simply well grounded music, hearing this kind of pathos in a Haydn piece is a revelation, and I say a very powerful one. Harnoncourt is often criticized for being a little too individual, or a little too dramatic, but I must say here that tendency brings Haydn's work to maximum fulfillment. None other than David Hurwitz called this performance "...quite simply the best performance of this version of the work." I haven't heard many, so I'm unfit to concur or not, but I really can't imagine another work bringing out this story with more power and grandeur.
Overall the sound quality here is excellent with both the orchestra and chorus playing in excellent form and well captured in the recording, but often individual soloists seem not prominent enough in the mix, and it would be nice to have them a little more front and center in the sound. Overall, just a slight blemish on an otherwise perfect performance of surprisingly brilliant, heavy music.
Last edited by Fischman on 08/13/2023 18:24; edited 1 time in total
Ludwig Von Beethoven - Symphony #1 Year: 1795-1800
Herbert Von Karajan / Wiener Philharmoniker
Rating: 4.0 Stars
I spend a lot of my classical time seeking out lesser known composers or lesser known pieces by the big names.
But just by accident, I came across this book at my local branch library...
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... and it inspired me to make a fresh run at LVBs symphonies. Tonight was dedicated to the 1st.
I recall once reading that upon hearing Brahms's 1st, some joyously proclaimed it "Beethoven's 10th!" This evening as I listened to Beethoven's 1st, at times, I couldn't help but think "Haydn's 105th!"
Yes, this symphony owes a great debt to Papa Joe Haydn (and also Amadeus), and it is certainly nowhere as groundbreaking as his later works, but you can hear some of LVBs powerful personality tucked into the corners of that otherwise traditional and delicately balanced work.
I've always loved Beethoven's 1st and I think I can now articulate why: it bears all the hallmarks of the best of the classical era, but as filtered through the emerging power of this great musical mind. What a wonderful springboard from which to begin the transformation!
Ludwig Von Beethoven - Symphony #2 Year: 1801-1802
Herbert Von Karajan / Philharmonia Orchestra
Rating: 4.5 Stars
Continuing my fresh journey through Beethoven's symphonies with Lockwood's book, now devoted to the 2nd.
That it immediately precedes the grand Eroica I think is unfortunate. It seems to be oft ignored, or when considered, largely thought of as a transition piece, little more than an evolutionary step between the Mozartian 1st and the thoroughly Beethovenian 3rd. But while the first barely hinted at the Beethovenian personality, it's there in full force in the 2nd, even if it's less grand than the 3rd. Add in some very interesting rhythmic and harmonic adventures, and the 2nd is perfectly capable of standing on its own, independent of historical sequencing.
Ludwig Von Beethoven - Symphony #3 Year: 1803-1804
Herbert Von Karajan/Berliner Philharmoniker , Leonard Bernstein/Wiener Harmoniker
Rating: 5.0 Stars
This is the third stop on my journey through Lockwood's book covering Beethoven's symphonies, with two listens, the first being my Karajan CD and the second being a simple YouTube stream of a killer Bernstein with surprisingly good sound quality considering the format.
My thoughts today were, given the piece's astronomical (at the time) length, and Beethoven's increased use of chromaticism and (again, for the time) dissonance, how astonishing its overall coherence is.
That's the strategic look. As for a tactical, localized observation, I was most moved, especially in the Bernstein, by the shift from the second to the third movements... like the most somber night being followed by a joyously beaming sunrise.
I love hearing some of the old, overworked war horses of the repertoire with fresh ears!
Ludwig Von Beethoven - Symphony #4 Year: 1806-1807
Herbert Von Karajan/Berliner Philharmoniker , Roger Norrington/The London Classical Players
Rating: 4.75 Stars
My 4th day with the Lockwood book had me of course sitting with Beethoven's 4th. Three things that really caught my ear this this time:
First, how compelling that opening adagio can be. Second, the incredible sense of urgency that can be brought out in the allegro vivace. Third, has there ever been a
As with the third, I picked two versions. One was a stream of Karajan with rough sound but a most spirited performance. The second was a much better sounding CD with Norrington on the podium, but for which it was obvious right from the opening adagio, that the emotional weight would be rather less than the Karajan.
Ludwig Von Beethoven - Symphony #5 Year: 1804-1808
Roger Norrington/The London Classical Players, Otto Klemperer/Philharmonia Aorchestra
Rating: 5 Stars
This evening marked the continuation of my journey through the Beethoven symphonies with the Lockwood book. Today: The 5th.
I actually listened to the symphony twice before reading the chapter on the 5th, and interestingly, I came to some of the same observations and conclusions as Lockwood. That Lockwood fella must be a pretty smart guy, eh?
I approached the 5th today with a little trepidation. I'd not listened to it in any incarnation for some time, largely to it being possibly the single most played of all classical compositions. No matter how great, familiarity can breed contempt. I had come to think of it as a sort of classical Free Bird or Stairway to Heaven.
But the project must move forward, so I listened to two of my discs with 5ths on them, first the same Norrington who's 4th I found rather disappointing yesterday, and a historical Klemperer from 1955.
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Unlike the Norrington 4th, which I didn't care for when bounced off the Karajan, with the 5th, I really took to the Norrington 5th and found the Klemperer dire and a bit heavy handed. The difference was especially noteworthy in the final movement where Norrington's treatment of those soaring passages was uplifting, fully bringing home the triumph of the closing in contrast to the ominous opening movement, while Klemperer seemed mired in the gravitas, failing to find resolution. The sound quality on the legacy recording was also relatively problematic.
Regardless of version, the one other thing that really stood out from this listen was how well the final movement, without direct quotes, reaches back into, and ties together the three previous movements into a unified whole, making those soaring passages in the final movement (especially when well presented) both logical an joyous.
Oh, and I was wrong going in.
I changed my thought from "No matter how great, familiarity breeds contempt"
to
No matter how familiar, greatness will shine!
Yeah, I really enjoyed my self imposed listening assignment today, and it won't be so long before I again reach for a 5th.
Last edited by Fischman on 04/15/2023 01:07; edited 1 time in total
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