29 November 2010
Shuffle on
1. Beethoven, Symphony № 7 in A, Opus 92, i. Poco sostenuto—Vivace (Leipzig Gewandhausorchester, Masur) [933/1172]
2. Prokofiev, Visions fugitives, Opus 22, № 11 Con vivacità (Béroff) [1095/1172]
3. Bartók, Piano Concerto № 2, i. Allegro (Géza Anda, Berlin Radio Symphony, Fricsay) [357/1172]
4. Ravel, Piano Trio in a minor, i. Modéré (Nash Ensemble) [629/1172]
5. Prokofiev, Romeo & Juliet, Opus 64, Act I Scene ii, № 21 Romeo & Juliet’s Love Dance, Andante (BSO, Ozawa) [51/1172]
6. Jethro Tull, “Cheerio” from The Very Best of Jethro Tull [202/1029]
7. Shostakovich, Symphony № 4 in c minor, Opus 43, ii. Moderato con moto (Chicago Symphony, André Previn) [938/1172]
8. Ibert, Escales, № 3: Valencia (Detroit Symphony, Paul Paray) [367/1172]
9. Shostakovich, Concerto № 2 for Cello & Orchestra, Opus 126, ii. Allegretto (Jiří Bárta, Prague Symphony, Maksim Dmitriyevich) [379/1172]
10. Vivaldi, Le quattro stagioni, L’inverno, ii. Largo (Gidon Kremer, Kremerata Baltica) [486/1029]
11. Wuorinen, A Reliquary for Igor Stravinsky – Coda (London Sinfonietta, Knussen) [1149/1029]
12. Astor Piazzolla, Tanguedía III from Tango: Hora Cero [960/1172]
13. Prokofiev, Le pas d’acier, Opus 41, Scene i, L’orateur (Cologne West German Radio Symphony, M. Jurowski) [490/1172]
14. Shostakovich, Prelude & fugue in G Major, Opus 87 № 3 (Tatiana Nikolayeva) [412/1172]
15. Frank Zappa & The Mothers, “Oh, No” from Weasels Ripped My Flesh [584/1172]
16. Hindemith, Konzertmusik for piano, 10 brass instruments & 2 harps, Opus 49, iii. Sehr ruhig. Variationen (Siegfried Mauser, Frankfurt Radio Symphony, Werner Andreas Albert) [467/1172]
17. Shostakovich, String Quartet № 13 in b-flat minor, Opus 138, Adagio (Emerson String Quartet) [860/1172]
18. Shostakovich, Symphony № 14, Opus 135, ix. O, Delvig! Delvig! (Peter Mikulas, Prague Symphony, Maksim Dmitriyevich) [718/1172]
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1 comment:
You could shuffle off to Buffalo with that eclectic list!
A comment on the "At Rest" essay from November 15th: as a member of that club, I have come to the conclusion that if my work has affected only one person for the better, my talent's purpose has been fulfilled.
It would be nice for the work to fatten my bank account, but I have reached a point where that no longer matters.
Still, it would be nice! But I find I am ever more interested in the reactions of my very small coterie of acolytes, whom I respect and value greatly, than in hoping to impress some New York agent, who (the odds say) is probably a schnook.
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