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Kremer Plays Schnittke - Concerto grosso No. 1 / Quasi una sonata / Moz-Art a'la Haydn / A Paganini

Thanks.



Quasi Una Sonata is an orchestral re-orchestration of the original piano and violin arrangement which (imo) improves with repeated listens. The polystylism movement is not one I'm familiar with but can appreciate with someone as committed as Kremer. :)

J.S. Bach: Partita No.1 in Bb major, BWV 825

Watching and Listening to this one - the best doc on Beethoven I've ever seen: Phil Grabsky's In Search of Beethoven. It's the best in his In Search of... series of major classical composers, imo. Never stays on YouTube long. Enjoy it (free) while you can.

https://angartwork.akamaized.net/web...46835&size=296 (2019, Ablaze)

https://1.bp.blogspot.com/-Psdx47AHn...0/thompson.jpg

True Stories & Rational Numbers Chris P. Thompson (2020, Bandcamp)

Perfect minimalist piano music for my current mood. Spotify edition

Listening to the disc. Not crazy about the lack of movement breakdowns on the Spotify edition. But it's a nice sampling of this relatively obscure composer.

JOHNSTON,BEN
Ruminations: Settings of Rumi & Billie Holiday

I just cannot seem to develop an appreciation for spoken word or almost any type of language based vocals in contemporary classical music. There’s an exception here or there but almost always it just annoys me. I’m like STFU!

You've been listening to the wrong people. :D

Or it could be that you just don't like the approach of contemporary classical singers. And it's funny you should mention the subject as I was just musing to myself about the need for singers of the English language to embellish their delivery with rolling Rs and unduly elongated vowels. Something about the "art song" must lend itself to this kind of thing. To wit, Ian Bostridge singing the second movement aria from early 20th century composer Gerald Finzi's Dies Natalis (1938):

Rhapsody (Recitativo Stromentato)


Will you see the infancy of this sublime and celestial greatness?
I was a stranger, which at my entrance into the world
Was saluted and surrounded with innumerable joys
My knowledge was divine. I was entertained like an angel
With the works of God in their splendour and glory
Heaven and Earth did sing my Creator's praises
And could not make more melody to Adam than to me
Certainly Adam in Paradise had not more sweet and curious
Apprehensions of the world than I
All appeared new, and strange at first
Inexpressibly rare and delightful and beautiful
All things were spotless and pure and glorious



The corn was orient and immortal wheat
Which never should be reaped nor was ever sown
I thought it had stood from everlasting to everlasting
The green trees, when I saw them first, transported and ravished me
Their sweetness and unusual beauty made my heart to leap
And almost mad with ecstasy, they were such strange and wonderful things

O what venerable creatures did the aged seem!
Immortal cherubims! and the young men glittering and sparkling angels
And maids strange seraphic pieces of life and beauty!
I knew not that they were born or should die
But all things abided eternally
I knew not that there were sins or complaints or laws
I dreamed not of poverties, contentions or vices
All tears and quarrels were hidden from mine eyes
I saw all in the peace of Eden
Everything was at rest, free and immortal

Gerald Finzi, lyrics by Thomas Traherne

None of that artful approach is in this rendition of Kurt Weil's Alabama Song from the OPERA, The Rise & Fall of the City of Mahagonny (1930) -

I don’t think I’m likely to develop an appreciation for that stuff.

I like for example St Luke Passion (Penderecki) but it’s in Latin so I’m distracted by whatever the **** they’re saying. And there’s Lejaren Hiller as a rare example of a composer who can pull it off but only in a very surreal context.