Day 55

Today I decided to go a little modern, and strangely enough, didn't find myself going as modern as I had hoped.

Side One:

Piece: Violinkonsert, op 42

1. Moderato

2. Andante pastorale

3. Allegro molto

Composer: Lars-Erik Larsson

Orchestra: Stockholm Philharmonic; Leo Berlin, violin

Conductor: Stig Westerberg

Record Date: 09/07/1976

Side Two:

Pieces: En vintersage, op. 18 (4 vinjetter till Shakespeares skadespel)

1. Siciliana

2. Intermezzo

3. Pastoral

4. Epilog

Concertino for violin och strakorkester, op. 45:8

1. Allegro moderato

2. Cavatina: Andante con moto

3. Finale: Allegro vivace

Composer: Lars-Erik Larsson

Orchestra: Stockholm Philharmonic; Leo Berlin, violin

Conductor: Stig Westerberg

Record Date: 01/04/1977, 05/13/1977

That's right, I choose a Swedish, 20th Century, composer, and it wasn't modern enough for me. But in all fairness, I was expecting Schoenberg, which is to say I was expecting something almost unlistenable. In the end though, this was rather enjoyable; the first piece, Violinkonsert, starts off with a pulsating orchestra, just loud enough where you don't think soft, but not so loud as to think moderate or normal volume. Then enters the solo violin; up and down, dancing and creating complex ideas and melodies. While the piece lacked some serious thoughts it fully makes up for this through being fun and at times surprising. The second and third pieces follow a similar patter, though I will admit that I didn't get a chance to listen as closely to these two as I would have liked, mainly due to the three women in my life being, well, being women (and yes I did just clump my fiancee and my two cats into the same category). Anyway, long story short, I have placed this record on the every lengthening list of "return to" and hope to one day find more of this Larsson, and enjoy.

Day 54

So, I'm back. Sorry been away (physically for some of it, mentally for all of it) and haven't had much time to listen. Now that things are starting up with a more predictable schedule I am planning on actually doing something I enjoy, listening to classical music (what! who said that!).

Side One:

Pieces: Harpeggio E Fuga in G Major;

Parthie (Suite) in G Minor;

Sonata Septima

Composer: Johann Josef Fux

Performer: Michael Thomas, Clavichord

Record Date: None Given

Side Two:

Pieces: Capricio in G Minor;

Ciaconna in D Major

Composer: Johann Josef Fux

Performer: Michael Thomas, Clavichord

Record Date: None Given

I love keyboard music, especially baroque keyboard music; you can take your focus and completely divert it to something else while the record plays and still enjoy the music. Not that I would ever do anything like this (*cough* taxes *cough*), but really, sometimes you just want good background music. I'm not saying that these pieces only make good background music, rather they worked well as such today. In all honesty I've mentally marked this recording for a further listen. I found the Clavichord an interesting change from the piano and some of Fux's ideas deserving of a second listen. So, if you you're in the mood for a little know Austrian baroque composer who wrote pieces for instruments rarely played these days, or if you need to file your taxes, these may be the pieces for you.

Until we meet again, I have receipts to find.

Day 53

Followed up yesterday's listening of the "Rite of Spring", which may be considered one of the founding pieces of modern music, with a baroque opera, an English baroque opera. Needless to say it was pretty, but forgettable.

Side One:

Piece: Dido and Aeneas (Act 1)

Composer: Henry Purcell

Performers: Oriana Concert Choir and Orchestra, Harold Lester on harpsichord

Conductor: Alfred Deller

Record Date: None Given

Side Two:

Piece: Dido and Aeneas (Acts 2 & 3)

Composer: Henry Purcell

Performers: Oriana Concert Choir and Orchestra, Harold Lester on harpsichord

Conductor: Alfred Deller

Record Date: None Given

I'm not saying that this piece was bad, it just lacked the tonal complexity of Stravinsky, but then again most music prior to 1870 lack the tonal complexity of Stravinsky. It did not hold my attention, though I will be the first to admit that I did not give it my attention. I guess what I'm trying to say is that someday I will give this piece the true listening it deserves. Until then I will recommend it to anyone who enjoys harpsichord, and is looking for an older opera that is sung in English.