Saturday, August 23 2014

---FIRST HALF HOUR---

:04—Satie: Gymnopedie No. 1,” Mariko Auraku, harp [EMI 33588-2].

:08—Satie: “Sluggish Preludes for a Dog,” number two of four, 1912, Yuji Yakahashi, piano; Keiko Mizuno, violin [Denon 7486].

:10—Satie: Gymnopedie No. 3,” Markus Klinko, harp [EMI 33588-2].

:13—Satie: “Sluggish Preludes for a Dog,” number four of four, 1912, Yuji Yakahashi, piano [Denon 7486].

:14—Satie: “Gothic Dances,” 1893, Reinberg de Leeuw, piano [Philips 412 243-2]. Nine almost identical pieces, which nevertheless have wildly varying subtitles, like, “On the occasion of a great pain,” and, “Where there is a question of pardon for injuries sustained,” and, “In pity for the drunk, shameful, debauched, imperfect, disagreeable and fraudulent of all sorts.”

---SECOND HALF HOUR---

:30—Satie: “Muscular Fantasy,” 1914, Yuji Yakahashi, piano [Denon 7486].

:32—Satie: “Prelude de la Porte Heroique du Ciel,” Reinberg de Leeuw, piano [Philips 412 243-2].

:38—Satie: “Le Bain de Mer,” 1914, Yuji Yakahashi, piano [Denon 7486]. From “Sports and Diversions,” it seems to make fun of the way other composers depict the sea.

:39—Satie: Prelude, “Vocation,” John York, piano [Black Box 1057].From a set of three preludes called Vocation, Initiation, Incantation.

:44—Satie, arr. Poulenc: Gnossienne No. 3, Michel Plasson, Toulouse Capitol Orchestra [EMI 49471].

:47—Satie, arr. O’Donoghue-Beamer: Gnossienne No. 3, Keola Beamer, two overdubbed slack-key guitars [Windham Hill 02024].

:50—Satie, arr. Debussy: Gymnopedie No. 3, Michel Plasson, Toulouse Capitol Orchestra [EMI 49471].

:55—Satie: “Gymnopedie No. 1,” Jacques Loussier Trio [Telarc 83431].

---THIRD HALF HOUR---

:04—Satie: “Gymnopedie No. 1,” The Swingle Singers [PAC 4315 2].

:07—Satie: “Severe Reprimand,” Yuji Yakahashi, piano [Denon 7486].

:08—Satie: “Gnossienne No. 2,” John Williams, guitar [Sony60586].

:11—Satie: “Gnossienne No. 2,” John York, piano [Black Box 1057].

:13—Satie: “Gnossienne No. 2,” Jacques Loussier Trio [Telarc 83431].

:18--Satie: “Gnossienne No. 6,” Reinbert de Leeuw, piano [Philips 412 243-2].

:21—Satie: “Gnossienne No. 6,” Jacques Loussier Trio [Telarc 83431].

:27--Satie: “Petite Overture a Danser,” Reinberg de Leeuw, piano [Philips 412 243-2].

---FOURTH HALF HOUR---

:30—Satie: “Dessicated Embryos,” first piece, 1913, Yuji Yakahashi, piano [Denon 7486].

:33--Satie: “Gnossienne No. 5,” Reinbert de Leeuw, piano [Philips 412 243-2].

:37—Satie: “Gnossienne No. 2,” John York, piano [Black Box 1057].

:40--Satie: “Gnossienne No. 5,” Jacques Loussier Trio [Telarc 83431].

(TRICK QUESTION: WHAT ROCK GROUP DID THIS VERSION?)

:45—Satie, arr. Dick Halligan: Gymnopedie No. 3, Blood Sweat & Tears [Columbia UCD 559].

:47--Satie: “Aubade,” from “Avante-Dernieres Pensees,” Yuji Yakahashi, piano [Denon 7486]. A parody of the busy music of Albert Roussel.

:49— Satie, arr. O’Donoghue-Beamer: Gnossienne No. 4, Keola Beamer, two overdubbed slack-key guitars [Windham Hill 02024].

:52—Satie: Gnossienne No. 4, Reinbert de Leeuw, piano [Philips 412 243-2].

:55-- Satie: Gnossienne No. 4, Jacques Loussier Trio [Telarc 83431].

Saturday, August 16 2014

---FIRST HALF HOUR---

:04—John Dowland (1563-1616): Galliard, Andres Segovia, guitar [Doremi 7704]. Original recording made in 1944 and released 1947.

:05—Palestrina (1525-1594): Ricercar del Primo Tuono, Empire Brass, from “Royal Brass” [Telarc 80257].

:08—Michael Praetorius (1571-1621): Terpsichore Suite, bransle and volte, Los Angeles Guitar Quartet [Denos 3132].

:10—Giovanelli: “You Defy Me, Beloved Foe,” from “Fireworks for Brass,” Chicago Chamber Brass [ProArte 805].

--SEGUE—

:12--Michael Praetorius (1571-1621): Terpsichore Suite, gavotte, Fritz Neumeyer, Collegium Terpsichore, from “Dances of the Renaissance,” [DG 289 469 244-2].

:15—Orlando Gibbons (1583-1625): Prelude in G, Tim Roberts, organ [Naxos 550603].

--SEGUE--

:17—Orlando Gibbons (1583-1625): Italian Ground, James Johnstone, harpsichord [ASV 191].

--SEGUE--

:19—Orlando Gibbons (1583-1625): Italian Ground, Glenn Gould, piano [Music & Arts 659).

:21—Orlando Gibbons (1583-1625): Ground, James Johnstone, virginal [ASV 191].

--SEGUE—

:24--Orlando Gibbons (1583-1625): Fantasia No. 1 for Two Trebles, The Rose Consort [Naxos 8.550603].

:27--John Dowland (1563-1616): The Frog Galliard, David Miller, lute [Hyperion 66447].

--SEGUE—

:29—Anonymous: “The King’s Mistress,” Roxanne Layton, recorder, and Jackson Berkey, harpsichord [AGCD 298-2].

---SECOND HALF HOUR---

:30—Giovanni Gabrieli (1557-1612): Sonata No. 8, Los Angeles Guitar Quartet [Denos 3132].

--SEGUE--

:32--Giovanni Gabrieli (1557-1612): Canzon septimi toni a 8, Denis Stevens, Ambrosian String and Brass Ensembles, from “The Glory of Venice” [EMI 86049].

--SEGUE—

:36--Giovanni Gabrieli (1557-1612): Canzon septimi toni a 8, from “Fireworks for Brass,” Chicago Chamber Brass [ProArte 805]. Same piece as previous track but played faster and with more spunk.

:40--John Dowland (1563-1616): “Flow My Tears,” James Bowman, countertenor w/David Miller, lute [Hyperion 66447].

:42--John Dowland (1563-1616): “Flow My Tears,” Freddie Wadling, vocals [Atrium 22109].

:43--John Dowland (1563-1616): “Flow My Tears,” Sting, vocals; Edin Karamazov, lute [DG 7220].

:48-- John Dowland (1563-1616): “Flow My Tears,” Kronos Quartet [Nonesuch 794572].

:52—Johann Hermann Schein (1586-1630): Pavane, Fritz Neumeyer, Collegium Terpsichore, from “Dances of the Renaissance,” [DG 289 469 244-2].

:55-- Johann Hermann Schein (1586-1630): Galliard, Musica Anima Renaissance Consort [AGCD 298-2].

:57—William Byrd (1540-1623): “John, Come Kiss Me Now,” Tim Roberts, harpsichord [Naxos 8.550604].

:58—William Byrd (1540-1623), arr. Gordon Jacob: “John, Come Kiss Me Now,” Frederick Fennell, Eastman Wind Ensemble [Mercury 432 009-2].

---THIRD HALF HOUR---

:04—Anthony Holburne (1545-1602): Two Dances, The Canadian Brass [RCA Victor 68108].

:07—Henry Purcell (1659-1695): Minuet, Andres Segovia, guitar [Doremi 7704]. Original recording made in 1944 and released 1947.

:09-- Michael Praetorius (1571-1621): “In dulci jubilo,” Musica Anima Renaissance Consort [AGCD 298-2].

:14—Giovanni Priuli (1575-1629): Second Cazone a six, Empire Brass, from “Royal Brass” [Telarc 80257].

:17--Michael Praetorius (1571-1621): Terpsichore Suite, bourees, Los Angeles Guitar Quartet [Denos 3132].

:19--Michael Praetorius (1571-1621): Terpsichore Suite, bourees, Fritz Neumeyer, Collegium Terpsichore, from “Dances of the Renaissance,” [DG 289 469 244-2].

:21—Josquin Des Prez (1450-1521): Royal Fanfare, The Canadian Brass [RCA Victor 68108].

:22-- Michael Praetorius (1571-1621): Ballet, 1612, Chip Davis, London Symphony [AGCD 298-2].

:24--John Dowland (1563-1616): “Battle Galliard,” a.k.a. “The Ken of Denmark’s Galliard,” The Forge Players [Atrium 22109].

:26— John Dowland (1563-1616): “George Whitehead’s Allemande,” Musica Anima Renaissance Consort [AGCD 298-2].

---FOURTH HALF HOUR---

:30--John Dowland (1563-1616): “Can She Excuse My Wrongs?”, Sting, vocals; Edin Karamazov, lute [DG 7220].

:33--John Dowland (1563-1616): “Can She Excuse My Wrongs?”, Los Angeles Guitar Quartet [Denos 3132].

:34—Orlando Gibbons (1583-1625): Galliard for the Lord of Salisbury, James Johnstone, harpsichord [ASV 191].

:37—Orlando Gibbons (1583-1625): Galliard for the Lord of Salisbury, Glenn Gould, piano [Music & Arts 659).

:39—Orlando Gibbons (1583-1625): Fantasia No. 3 for six viols, The Rose Consort [Naxos 8.550603].

(TRICK QUESTION: IS THIS PIECE CONTEMPORANEOUS?)

:43—Guillaume de Machaut (1300-1377): Kyrie No. 1, Kronos Quartet [Nonesuch 794572]. This is centuries older.

:44-- John Dowland (1563-1616): “Fine Knacks for Ladies,” Sting, vocals; Edin Karamazov, lute [DG 7220].

:46—Henry Purcell (1659-1695): Jig, Andres Segovia, guitar [Doremi 7704]. Original recording made in 1944 and released 1947.

:47--Johann Hermann Schein (1586-1630): Suite No. 3, finale, Fritz Neumeyer, Collegium Terpsichore, from “Dances of the Renaissance,” [DG 289 469 244-2].

:49—Orlando Gibbons (1583-1625): “The Fairest Nymph,” James Johnstone, harpsichord [ASV 191].

:51--William Byrd (1540-1623): Galliard, The Rose Consort [Naxos 8.550604].

:53—William Byrd (1540-1623), arr. Gordon Jacob: “The Bells,” Frederick Fennell, Eastma Wind Ensemble [Mercury 432 009-2].

Saturday, August 9 2014

---FIRST HALF HOUR---

:04—Hindemith: Kammermusik No. 2, first move., Ensemble Vienna-Berlin [Sony 64400-2].

:07—Hindemith: Kammermusik No. 2, first move., Netherlands Wind Quintet [CPO 999 229-2]. Tempo almost identical, but breathes more.

:10—Mahler: Sixth Symphony, scherzo, Gary Bertini, Cologne Radio Symphony [EMI 47592-2].

:13-- Mahler: Sixth Symphony, scherzo, Neeme Jarvi, Scottish National Orchestra [Chandos 9207].

:26—Hindemith: Kammermusik No. 1, first move., Werner Andreas Albert, Tasmanian Symphony [CPO 999 301-2].

:28-- Hindemith: Kammermusik No. 1, first move., Riccardo Chailly, Concertgrebouw Amsterdam [London 433 816-2]. Faster, clearer.

---SECOND HALF HOUR---

:30—Schumann: “Rhenish” Symphony, slow move., Gerard Schwarz, Seattle Symphony [Delos 3146].

:37-- Schumann: “Rhenish” Symphony, slow move., Bernard Haitink, Concertgebouw Amsterdam [Philips 416 126-2].

:43—Brahms: First Symphony, beginning, Yevgeny Svetlanov, U.S.S.R. Academic Symphony [Melodiya 245].

:45—Brahms: First Symphony, beginning, Gunter Wand, North German Radio Symphony [ProArte 006]. This version is too fast.

:47—Brahms: First Symphony, beginning, Herbert von Karajan, Berlin Philharmonic [DG 289 453 097-2]. This version is just right.

:50—Poulenc: Flute Sonata, finale, track 12, 3:33, Philippe Bernold, flute; Alexandre Tharaud, piano [Naxos 8.553611].

:54—Poulenc: Flute Sonata, finale, Wolfgang Schutz, flute; James Levine, piano [DG 427 639-2]. Closer recording and is shorter despite sounding less rushed.

---THIRD HALF HOUR---

:04—Hindemith: First Interlude from “Ludus Tonalis,” 1943, Sviatoslav Richter, piano [Pyramid 13497].

:06--Hindemith: First Interlude from “Ludus Tonalis,” 1943, Pavel Zarukin, computer synthesizer program [Zyp 53510]. What happens when someone uses a computer to “orchestra” the notes written for solo piano.

:08--Frank Martin: March from Petite Symphonie Concertante, Ernest Ansermet, Orchestre de la Suisse Romande [London 448 264-2].

:13—Frank Martin: March from Petite Symphonie Concertante, Richard Kapp, Philharmonic Virtuosi [Essay 1014]. Same tempo but closer miking of piano and harp, with the harpsichord less forward.

:18—Frank Martin: March from Symphonie Concertante for Large Orchestra, Matthias Bamert, London Philharmonic [Chandos 9312]. The larger orchestra slows the music down just a bit.

:24—Andrew Lloyd Webber: “Variations,” 16th variation, Julian Lloyd Webber, cello, w/Lorin Maazel, London Philharmonic. Orchestrated by David Cullen.

:27--Andrew Lloyd Webber: “Variations,” 16th variation, Julian Lloyd Webber, cello, with rock band [MCA 11089-2]. This is the original version.

---FOURTH HALF HOUR---

:30—Copland: Third Symphony, scherzo, Yoel Levi, Atlanta Symphony [Telarc 80201].

:32—Copland: Third Symphony, scherzo, Leonard Bernstein, New York Philharmonic [Columbia 63155].

(TRICK QUESTION: WHICH VERSION OF THIS IS MORE AUTHENTIC?)

:40—Barber: “Agnus Dei,” Peter Broadbent, The Joyful Company of Singers [ASV 939].

--SEGUE—

:42—Barber: String Quartet, middle move., Chester String Quartet [Koch 7069].

(BOTH VERSIONS ARE BY SAMUEL BARBER HIMSELF, BUT THE SECOND ONE IS THE STRING QUARTET ORIGINAL, PREDATING THE ORCHESTRAL PIECE WE KNOW AS ‘ADAGIO FOR STRINGS’.)

:45—Hindemith: Fourth Fugue from “Ludus Tonalis,” 1943, Sviatoslav Richter, piano [Pyramid 13497].

:47-- Hindemith: Fourth Fugue from “Ludus Tonalis,” 1943, Pavel Zarukin, computer synthesizer program [Zyp 53510].

:49—John Adams: “Short Ride in a Fast Machine,” Edo de Waart, San Francisco Symphony [Elektra Nonesuch 79144-2].

:54—John Adams: “Short Ride in a Fast Machine,” Marin Alsop, Bournemouth Symphony [Naxos 8.559031.] Alsop has the advantage of having heard the original recording but the disadvantage of a British orchestra. The wood block keeping the pulse is more obtrusive in this recording.

Saturday, August 2 2014

--FIRST HALF HOUR---

:04—Bach, arr. Mozart for string trio: Fugue in G minor, L’Archibudelli [Sony 46497].

:07—De Falla: “Ritual Fire Dance,” Andres Diaz, cello w/Samuel Sanders, piano [MusicMasters 0237].

:11—Satie, arr. Milhaud: Gymnopedies 3 and 1, Bernard Herrmann, London Philharmonic [London 421 395-2].

:18—Schoenberg: Chamber Symphony (excerpt), 1906, Orpheus Chamber Orchestra [DG 429 233-21]. The original version for 15 solo musicians: A string quartet, a bassist, flute, oboe, English horn, bassoon, contrabassoon, two clarinets, and two horns.

:21—Schoenberg, arr. Webern: Chamber Symphony (excerpt), Members of the Bavarian Radio Symphony [Tudor 717]. Arrangement for five musicians: flute, clarinet, violin, cello and piano.

:24—Schoenberg, arr. Berg: Chamber Symphony (excerpt), Anthon and Joseph Paratore, pianos [Koch 311 034]. A further reduction, for two pianos.

:27—Schoenberg: Chamber Symphony (excerpt), Orpheus Chamber Orchestra [DG 429 233-21]. The last few pages.

---SECOND HALF HOUR---

:30—Holst: “Hammersmith,” orchestral version, excerpt, Richard Hickox, London Symphony [Chandos 9420]. Holst made this arrangement for symphony orchestra.

:32—Holst: “Hammersmith,” original version, Howard Dunn, Dallas Wind Symphony [Reference RR-39].

:48—Carl Ruggles: “Evocation No. 1,” Donald Berman, piano [New World Records 80629-2].

:50—Carl Ruggles: “Evocation No. 1,” Michael Tilson Thomas, Buffalo Philharmonic [OM 1020/21].

:53—Dave Brubeck: Chorale from Chromatic Fantasy, Brodsky Quartet [Silva 6014-2]. This is the original version of the work; the piano solo version came later.

:57—Dave Brubeck: Chorale from Chromatic Fantasy, John Salmon, piano [Naxos 8.559212].

---THIRD HALF HOUR---

:04—William Schuman: “Chester,” from “New England Triptych,” Howard Hanson [Mercury 432 755-2]. Schuman’s original orchestral variations on a song by William Billings.

:08—William Schuman: “Chester,” from “New England Triptych,” Jack Stamp, Keystone Wind Ensemble [Klavier 11155]. Soon after, rearranging the piece for band, he made so many changes the piece almost doubled in length.

:15—Handel: Concerto Grosso No. 7 in B flat, finale, Trevor Pinnock, The English Concert [Archiv 410 898-2].

:19—Handel, arr. Schoenberg: Concerto for Quartet & Orch. after Handel, finale, Gerard Schwarz, New York Chamber Symphony [Nonesuch79145-2]. A deconstruction of the Concerto Grosso No. 7.

:26—Tomaso Albinoni: St. Marc Concerto, second move., Harvey Pittel, soprano sax, with Jeff Pelmer, piano; transcription by the saxophonist [Crystal 655].

---FOURTH HALF HOUR---

:30--Copland: Organ Symphony, middle move., excerpt, middle move., Simon Preston, organ, w/Leonard Slatkin, Saint Louis Symphony [RCA Victor 68292-2].

:38—Copland: Sym. No. 1, middle move., Marin Alsop, Bournemouth Symphony [Naxos 8.559359]. Copland reworked his Organ Symphony without the organ and called it Symphony No. 1.

(TRICK QUESTION: IS THIS A BOLERO?)

:47—Ravel, arr. Shilkret: “Bolero,” Nat Shilkret & His Orch., 1930, [RCA Victor 63670-2].

(IT’S ‘BOLERO’ BUT THIS VERSION IS A FOXTROT)

:50—Shostakovich: Eighth Quartet, second move., Borodin String Quartet [Koch 61630-2].

:53—Shostakovich: Chamber Symphony, second move., William Boughton, English Symphony Orchestra [Nimbus 5308-2]. The quartet, reworked for a larger string orchestra.

:56—Debussy, arr. Eumir Deodato: “Prelude a l’apres-midi d’un faune,” Deodato w/Hubert Laws, flute; Ron Carter, bass; Billy Cobham, drums [CTI 78476-2].