Day 48

So I've been gone awhile. I know, I know, I'm lazy. The good news, I'm alive, not that any of your would be able to confirm that, as no one has come to my apartment to check on me after the abrupt end to my blog updates (and for this, I think less of you all). But I am here (well as much as anyone person can be "here" on teh interwebs), and I haven't stopped listening, I just became busy with, well let's say life and leave it at that.

As I said I have been listening, if not writing, and here is a selection that I have enjoyed while gone:

Mozart's Serenade in B-Flat, K. 361 "Gran Partita" (Crap)

Bartok's String Quartet No.1 (different)

Milhaud's String Quartet No7 (makes Bartok look normal)

Schubert's Wanderer Fantasie and Piano Sonata in A-Minor D. 845 (so outrageously good that just thinking about it makes me orgasm so hard that I won't be able to stand for 34 and three-quarter minutes)

So what does this means to you? Nothing. Unless you like good music (and by good music I mean well recorded music, the type is a matter of taste) and/or drugs, because really they are one in the same.

Let me explain. Yesterday I sat down for a listen, and this time I mean a true listen. I turned off all my lights (and as I live next to the north pole it's dark between 2:15pm and 11:30am), sat down on the floor beneath the beautiful print of Rothko's Red on Maroon and listened. And it was glorious. A virgin record, still sealed in its sleeve, devoid of surface scratches, thumb prints, the dust and the oils of life, ready to release it's full tonal assault of beautiful analog brilliance to my ears. I entered an opiate like haze.

More on that in a moment, first let me state what I listened to

Side One:

Piece: Mass in G Minor, BWV 235

1.Kyrie

2. Gloria

3. Gratias Agimus Tibi

4. Domine Fili Unigenite

5. Qui Tollis Peccata

6. Cum Sancto Spiritu

Composer: JS Bach

Performers: The Richard Hickox Singers and Orchestra

Conductor: Richard Hickox

Recorded: June 1975

Side Two:

Piece: Mass in G Major, BWV 236

1. Kyrie

2. Gloria

3. Gratias Agimus Tibi

4. Domine Deus

5. Quoniam tu solus Sanctus

6. Cum Sancto Spiritu

Composer: JS Bach

Performers: The Richard Hickox Singers and Orchestra

Conductor: Richard Hickox

Recorded: June 1975

So you get the idea now, I was listening to a two Bach masses, that ranged in pitch and tone from pipe organ to solo soprano, and it was amazing. You don't realize how good analog is until you listen only to digital (whether CD or god have mercy on me, lossy mp3) for a while. But once you actually sit down and listen to music they way you're supposed to (with your ears), music becomes a drug; a wonderful, wonderful drug that actually allows for you to listen to music. This is not the compressed crap they shove at people through iTunes, or the Amazon store or hell even your local independent record store (though in truth it looks like everyone is trying to become better). There is air around each note (not to mention there are notes instead of just tones), there is depth to the sound. I could go on and on, but let's put it this way, I'm a music junkie, and I only want the white china stuff.

Bach's masses were, well Bach's masses; they're amazing works of mathematical efficiency, counterpoint to point were the concept breaks down at perfection and still have remarkable beauty. Vocals interplay with organ, bass and cello set the stage for the incredible use of double-reed woodwinds (bassoon and oboe obbligato), the oboe strikes out, setting the melody, winding it's way through the sections of the mass, which always ends in the return to normality (or a G-Major chord). In the end I was a dripping man, laying on my back as my cats poked at me thinking I was dead, though rather I had found relaxation of the deepest variety. I had begun to listen to music again.

Day 47

There is something about a Sunday morning that calls for a French Composer; or maybe I was just too relaxed.

Side One.

Pieces: Tzigane (Rapsodie de concert)

Performer: Izthak Perlman, violin, London Symphony Orchestra

Conductor: Andre Previn

Le Trombeau de Couperin

Performer: Chamber Symphony of Philadelphia

Conductor: Anshel Brusilow

Composer: Maurice Ravel

Record Date: None Given

Side Two;

Pieces: Valses nobles et sentimentales

Symphony: Chicago Symphony Orchestra

Conductor: Fritz Reiner

La Valse (Poeme choregraphique)

Symphony: Boston Symphony Orchestra

Conductor: Charles Munch

Composer: Maurice Ravel

Record Date: Non-Given

There is just a light heartiness to Ravel that cannot be denied; perfect for a lazy Sunday morning. And with that, I'm heading off to a lazy Sunday Bed.

Goodnight Internets.

Day 46

A few catch up posts here.

Side One

Piece: Quartet No. 2 in F Major, Op 22

1. Adagio, Moderato assai

2. Scherzo

Composer: Peter Tchaikovsky

Performers: Borodin Quartet

Record Date: Non-Given

Side Two:

Piece: Quartet No. 2 in F Major, Op 22

3. Andante ma non tanto

4. Finale

Composer: Peter Tchaikovsky

Performers: Borodin Quartet

Record Date: Non-Given

As always I enjoy Tchaikovsky's work, but not as much as I enjoy his piano works.

Day 45

Dear lord it's getting late, and I'm an old man who likes his sleep.

Side One

Piece: Rondo in B-Flat

Piano Concerto No. 3 in C minor, op. 37

1. Allegro con brio

Composer: Beethoven

Performer: Julius Katchen, piano

Symphony: London Sympohony Orchestra

Conductor: Pierino Gamba

Record Date: 1958

Side Two

Piece: Piano Concerto No. 3 in C minor, Op. 37

2. Largo

3. Rondo

Composer: Beethoven

Performer: Julius Katchen, piano

Symphony: London Sympohony Orchestra

Conductor: Pierino Gamba

Record Date: 1958

Not going to say much besides the fact that I learned something, and that once again realized how much I enjoy Beethoven. I learned that what I was mistaking for a pressing date symbol (a "p" in a circle) is in fact the performance copyright symbol, showing the year that the performance was copyrighted (and most likely preformed), I will have to adjust future posts to reflect this. Also, still love Beethoven's work.

Day 44

Real quick one tonight as I must get back to stats.

Side One

Pieces: Trauervorspiel; Czardas; Klavierstuck in F-Sharp Major; Romance; Romance aubliee; Scherzo & Marsch

Composer: Franz Liszt

Performer: Gunnar Johansen

Record Date: None given

Side Two

Pieces: Libestraeume 1. Hohe Libe

2. Seliger Tod

3. O Lieb

Todtentanz- Paraphrase uber "Dies irae"

Composer: Franz Liszt

Performer: Gunnar Johansen

Record Date: None given

Day 43

In which I recant some of what I said yesterday:

Side One

Piece: Piano Sonata Nr. 23 in F Minor, op.57 "Appassionata"

1. Allegro assai

2. Andante con moto

3. Allegro ma non troppo-Presto

Composer: Beethoven

Performer: John Buttrick

Record Date: 1983

Side Two

Piece: Piano Sonata Nr. 17 in D-Minor, op 32 Nr 2, "Der Sturm"

1. Largo-Allegro

2. Adagio

3. Allegretto

Composer: Beethoven

Performer: John Buttrick

Record Date: 1983

I stated I recant because these pieces have a little more staying power, and it is not due to my part, I was reading complex algebra and epidemiological theory at the time. Rather I think it has to do with the composer; don't get me wrong, I love Grieg's work, but there is still something about Beethoven. It's interesting though, because you can hear in the way he writes, it's as almost as if he wants you to remember, often repeating phrases over and over, with slight variations. Doubt me, think of his 5th Symphony

Day 42

Quick and easy today, and you'll know why by the end.

Side One

Piece: Concerto for Violin and Orchestra in B Minor, Op. 61

1. Allegro

2. Andante

Composer: Edward Elgar

Soloist: Kyung-Wha Chung, Violin

Orchestra: London Philharmonic Orchestra

Conductor: Sir Georg Solti

Record Date: February 1977

Side Two

Side One

Piece: Concerto for Violin and Orchestra in B Minor, Op. 61

3. Allegro molto

Composer: Edward Elgar

Soloist: Kyung-Wha Chung, Violin

Orchestra: London Philharmonic Orchestra

Conductor: Sir Georg Solti

Record Date: February 1977

So why is today so quick and painless? Because I don't remember much of the piece. Unfortunately that isn't reflective of the piece (ok 90% of that isn't), but rather because I had my nose in a book for school while listening; needless to say I didn't focus like I could have. This is actually something that has been bothering me for the last couple of weeks, the fact that as life speeds up, my chances to sit down and really explore a piece of music are dwindling. I'm certain this is more of a "growing up" experiences than anything else, it just means that when I do get a chance to really listen, I should take it, and let you all know.