Music For The Day

Variation XV of “The Goldberg Variations” by Johann Sebastian Bach (1685-1750), performed here by Rosalyn Tureck, one of my very favourite Bach interpreters aside from the peerless Glenn Gould:

 

This recording dates from 1957, which is just after Gould made his historic 1955 recording for Colombia Records. However, you will find no influence of Gould in Rosalyn Tureck’s interpretation here. Very classical, with a smoky, melancholy, romantic, almost Victorian hue. And, of course, played much slower and with all of the repeats.

Music For The Day

One of my very favourite pieces of music, Piano Concerto no. 3 by Béla Bartok (1881-1945), performed here by the City of Birmingham Symphony Orchestra under the direction of Simon Rattle, with Andras Schiff as the soloist:

 

The mini fugue section starting at 0’50, introduced by the piano and then picked up by strings, is sublime.

In fact, I love all three movements of this piece. The second movement is so serene and still (the piece was a gift from Bartok to his wife, written in his final days, and in many ways can be seen as a farewell letter to her, or to life), and makes a marvellous contrast with the explosive start to the final movement, given here.

Music For The Day

Piano Concerto in G by Maurice Ravel, first movement, performed here by Leonard Bernstein conducting from the piano.

 

Not my favourite interpretation of the piece, but any chance to see Lenny performing is always good.

Music For The Day

A performance of Samuel Barber’s evocative, nostalgic “Knoxville: Summer of 1915”, performed here by the gifted soprano Dawn Upshaw, accompanied by the Orchestra of St. Luke’s with David Zinman conducting.

 

I heard this piece for the first time at a London Symphony Orchestra concert in 2007 and foolishly allowed it to slip from my mind until I recently stumbled upon it once again.

Well worth purchasing this particular recording if you are a Samuel Barber fan.

Music For The Day

Rachmaninov Prelude Op.32 No.13 in D flat major, performed here by Vladminir Ashkenazy:

 

A fitting end to Rachmaninov’s wonderful cycle of 24 preludes.