If Music Be The Food Of Love, Play On: The Music Thread: What Are You Listening To?

And now for something pretty different, from Israeli performer and jack-of-many-trades Irit Dekel... her 2017 debut album Hello. Songs composed by herself and Johnathan Quimby, with exception of one cover, R.E.M.'s Shiny Happy People. There are some explicit tracks.

It's summertime distilled, rearranged, flung out there to see if it could fly everywhere, anywhere, whence it all came. The ups and downs, the foolishness, satires, wonderments, certainties and the glance back at summer's end. Variously influenced by jazz / folk / alt / pop.

[ So that's what they mean by the genre called 'adult contemporary'... why don't they just say free. ]​

A review, for a clue:

glasgowtheatreblog.com

REVIEW: Irit – Òran Mór, Glasgow

Irit Dekel’s life story is almost as colourful as her music. The Tel Aviv native has been an Israeli Army sniper, actress, TV host, film-maker and comedian and is in Glasgow with her three-pi…
glasgowtheatreblog.com glasgowtheatreblog.com
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Here's the Lies track:

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The soundtrack from the movie/motion picture/film Frida (which won an Academy Award); Elliott Goldenthal and Caetano Veloso featured.
 
Mozart this afternoon, his Quintet for Piano, Oboe, Clarinet, Horn, and Bassoon in E-Flat, K. 452. This work cast a long shadow over some composers of the era who may have thought to match its instrumental balance and thematic development. Beethoven gave it a shot though, and that work (same key and instruments) is paired with the Mozart effort in the CD I have.

Performers were Alfred Brendel, and rather than (as more usually the case) members of the winds group of a selected orchestra, four winds soloists who were or are legendary in their own right:

Heinz Holliger, a Swiss oboeist
Eduard Brunner, a Swiss clarinetist
Hermann Baumann, a German hornist
Klaus Thunemann, a German bassoonist

Can't go wrong using these guys' performance in this recording as a standard for either of the two works.

This particular performance of the K.452 Quintet was included in the 180-CD collection by Philips Classics issued in commemoration of the bicentenary of Mozart's death. In that collection it's in box 14 (five CDs of quintets, quartets, trios etc.). That whole array of Mozart's music is so astounding to me. I mean the guy died when he was only 37 years old. He was literally one of those geniuses out of whom music just seemed irrepressibly to burst.
 
lizkat said:
Mozart this afternoon, his Quintet for Piano, Oboe, Clarinet, Horn, and Bassoon in E-Flat, K. 452. This work cast a long shadow over some composers of the era who may have thought to match its instrumental balance and thematic development. Beethoven gave it a shot though, and that work (same key and instruments) is paired with the Mozart effort in the CD I have.

Performers were Alfred Brendel, and rather than (as more usually the case) members of the winds group of a selected orchestra, four winds soloists who were or are legendary in their own right:

Heinz Holliger, a Swiss oboeist
Eduard Brunner, a Swiss clarinetist
Hermann Baumann, a German hornist
Klaus Thunemann, a German bassoonist

Can't go wrong using these guys' performance in this recording as a standard for either of the two works.

This particular performance of the K.452 Quintet was included in the 180-CD collection by Philips Classics issued in commemoration of the bicentenary of Mozart's death. In that collection it's in box 14 (five CDs of quintets, quartets, trios etc.). That whole array of Mozart's music is so astounding to me. I mean the guy died when he was only 37 years old. He was literally one of those geniuses out of whom music just seemed irrepressibly to burst.
Click to expand...

And was a political radical, as well. (Jacob Bronowski - of Ascent of Man fame was the first person who approvingly drew my attention to this in the published book version of Ascent of Man).

And the above is a remark that could not be made in the music thread of MR.....whereas, to Mozart, music and art and attitudes to deference, unearned rank and position, politics and power, were inseparable.

Love Mozart - his music is just perfect.

Listening to In Search Of The Lost Chord - The Moody Blues.
 
Scepticalscribe said:
And was a political radical, as well. (Jacob Bronowski - of Ascent of Man fame was the first person who approvingly drew my attention to this in the published book version of Ascent of Man).

And the above is a remark that could not be made in the music thread of MR.....whereas, to Mozart, music and art and attitudes to deference, unearned rank and position, politics and power, were inseparable.

Love Mozart - his music is just perfect.

Listening to In Search Of The Lost Chord - The Moody Blues.
Click to expand...

Heh Mozart himself would have been booted out of MR in short order, I should think. He had more than a sharp tongue to go with his keen eye for what was going on in the world aside from whatever was happening under his composer's hat at a given time.

Moody Blues sounds like a great pick for a summer afternoon...
 
lizkat said:
Heh Mozart himself would have been booted out of MR in short order, I should think. He had more than a sharp tongue to go with his keen eye for what was going on in the world aside from whatever was happening under his composer's hat at a given time.

Moody Blues sounds like a great pick for a summer afternoon...
Click to expand...

Jacob Bronowski (and I loved him, as well, what a civilised, cultured, decent, gentle, intelligent, liberal - in the best sense of the word - person he was - that episode in The Ascent of Man, where he crouched down, in the mud and muck of Auschwitz, appalled yet determined to attempt to explain the awfulness of that horror to his audience, holding - gently and respectfully - handfuls of that awful and filthy liquid mess - at a time when Poland was not open to foreign travel left me as a teenager, speechess with awe) pointed out that Mozart was a freemason, and loathed the deference he was supposed to pay to brainless and talentless aristocrats, (and their sycophantic supporters and enablers) and also discussed the (subversive) background of The Marriage of Figaro (i.e. Beaumarchais's play The Barber of Seville and the (progressive) political perspective that informed this.

A wonderful footnote re Bronowski: When he was dating the brilliant artist he would later marry, (this was the 30s), he nonchalantly sat for a nude portrait which she sketched of him, with relaxed wit and a complete lack of macho ego.
 

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