Dear Mr. Hurwitz, many thanks for introducing this ongoing Bartok, hopefully, complete cycle. I truly enjoyed the first CD that you have covered. Remembering your review of Bartok's piano concertos, I was glad to see that Universal will be soon issuing the Zoltan Kocsis box. Something to welcome back to the market. They miserably treated his legacy in the past.
The recommendation of Malkki's latest Barktok recording is what I used to finally listen to the Concerto for Orchestra. I hope she does a future recording of Kossuth.
So glad you liked it. I’ve been playing it a lot the past few months. That cover art, though-I mean, sure, those are curtains, but Freud would have had a field day.
There's no label other than BIS that would be bold or quixotic enough to release two recordings of Stenhammar's Second Symphony within a few months of each other.
About palindromic form, I'd like to credit also Alban Berg, who wrote two movements (Lulu's second act interlude, and the second movement of the chamber concerto) whose second part is exactly the first part played backwards. As always, thanks for the review and the chat about this two magnificent works.
The Palindrome thing (AKA "Cancrizan") was a favorite device in Baroque music, and sometimes in the classical era, often used for its novelty value. Check Haydn's Symphony No. 47..the Minuet: the second major phrase is EXACTLY the same as the first phrase, but note-for-note in reverse. I'm sure we'll hear about it when the "Haydn Crusade" gets to #47. LR
Mr. Hurwitz, I have a request: would you consider doing a talk at some point on the two 10-cd sets on Brilliant Classics of the Russian conductor Alexander Gauk? He was the teacher of Mravinsky and Svetlanov among others - volume one contains a harrowing live performance of the Shostakovich 5th…Thanks!
Your discussion of _fugue_ vs, _a fugue_ reminds me that I've always wanted to ask someone knowledgeable (as yourself) why the English title of _Die Kunst der Fuge_ by Bach is _The Art of Fugue_ ? I sometimes see written it as _The Art of the Fugue_ (just as its German counterpart), but most of the time it's without the _the_ ... Does that tie in with your explanation? Or is there another reason?
I love The Wooden Prince! I have Jarvi's and will try this one.
Dear Mr. Hurwitz, many thanks for introducing this ongoing Bartok, hopefully, complete cycle. I truly enjoyed the first CD that you have covered. Remembering your review of Bartok's piano concertos, I was glad to see that Universal will be soon issuing the Zoltan Kocsis box. Something to welcome back to the market. They miserably treated his legacy in the past.
The recommendation of Malkki's latest Barktok recording is what I used to finally listen to the Concerto for Orchestra. I hope she does a future recording of Kossuth.
So glad you liked it. I’ve been playing it a lot the past few months. That cover art, though-I mean, sure, those are curtains, but Freud would have had a field day.
Are you sure you don't mean Rorschach?
Great artist. i like her Sibelius too
I’ll have to check this one out, too! I have found Boulez’s Chicago recording to be terrific, as well as its coupling, Cantata Profana.
Mälkkis Bluebirds Castle is out, since mars this year. I found it on Apple Music.
I know. I have it.
@@DavesClassicalGuide I hope you do a video review of various accounts of Bluebeard’s Castle.
@@MegaVicar Already did, sort of. Check out this video: th-cam.com/video/xW2SXAqgzH4/w-d-xo.html. But I do need to make a Bluebeard video for itself.
@@DavesClassicalGuide Agreed. I’ve had the Kertesz for about 20 years, and also one by Eötvös. I’m just wondering what other worthies are out there.
"Bis " don't have any problem repeating their stuff... that's why they are called "Bis"
There's no label other than BIS that would be bold or quixotic enough to release two recordings of Stenhammar's Second Symphony within a few months of each other.
About palindromic form, I'd like to credit also Alban Berg, who wrote two movements (Lulu's second act interlude, and the second movement of the chamber concerto) whose second part is exactly the first part played backwards.
As always, thanks for the review and the chat about this two magnificent works.
The Palindrome thing (AKA "Cancrizan") was a favorite device in Baroque music, and sometimes in the classical era, often used for its novelty value. Check Haydn's Symphony No. 47..the Minuet: the second major phrase is EXACTLY the same as the first phrase, but note-for-note in reverse. I'm sure we'll hear about it when the "Haydn Crusade" gets to #47. LR
@@HassoBenSoba , thanks. Didn't know the Haydn issue.
Mr. Hurwitz, I have a request: would you consider doing a talk at some point on the two 10-cd sets on Brilliant Classics of the Russian conductor Alexander Gauk? He was the teacher of Mravinsky and Svetlanov among others - volume one contains a harrowing live performance of the Shostakovich 5th…Thanks!
I will consider it, for sure!
Hats off to Enno Maemets, who is credited as the engineer. A gorgeous recording, indeed.
Your discussion of _fugue_ vs, _a fugue_ reminds me that I've always wanted to ask someone knowledgeable (as yourself) why the English title of _Die Kunst der Fuge_ by Bach is _The Art of Fugue_ ? I sometimes see written it as _The Art of the Fugue_ (just as its German counterpart), but most of the time it's without the _the_ ... Does that tie in with your explanation? Or is there another reason?
I don't think so. German makes no grammatical distinction between the two forms (the genitive case requires the article).
Fugal?