Spin here, spin there

Me and my posting to the blog days after the fact: Shuffle from 13 December:

1. Frank Zappa, “Montana (Whipping Floss)” from You Can’t Do That On Stage Anymore, Vol. II (The Helsinki Concert) [553/1172]
2. Vaughan Williams, Symphony № 6, i. Allegro (London Phil, Haitink) [944/1172]
3. Shostakovich, Symphony № 14, Opus 135, ii. Malagueña (Marina Shaguch, soprano; Prague Symphony; Maksim Dmitriyevich) [715/1172]
4. Shostakovich, Concerto № 1 for Cello & Orchestra in E-flat Major, Opus 107, iv. Allegro con moto (Jiří Bárta, Prague Symphony, Maksim Dmitriyevich) [443/1172]
5. Prokofiev, Romeo & Juliet, Opus 64, Act III, № 43 Interlude, Adagio (BSO, Ozawa) [71/1172] 6. Captain Beefheart, “Old Fart at Play” from Trout Mask Replica [585/1172]
7. Prokofiev, Romeo & Juliet, Opus 64, Act I, Scene 1 № 2 Romeo, Andante (BSO, Ozawa) [37/1172]
8. Mannheim Steamroller, “Deck the Halls” from Celebration [248/1172]
9. Ginastera, Variaciones concertantes, Opus 23, Variazione pastorale per corno (Orquesta Ciudad de Granada, Josep Pons) [1078/1172]
10. Jethro Tull, “Rupi’s Dance” from The Best of Acoustic Jethro Tull [674/1172]
11. Prokofiev, Cinderella, Opus 87, Act I, № 17 The Interrupted Departure (Cleveland Orchestra, Ashkenazy) [93/1172]
12. Stravinsky, Sensus spei from Threni (Robt Craft conducting) [698/1172]
13. Shostakovich, String Quartet № 9 in E-flat Major, Opus 117, i. Allegro (Emerson String Quartet) [874/1172]
14. Bartók, Sonata for two pianos & percussion, Sz. 110, ii. Andante (Zoltán Kocsis, Dezső Ránki, Gusztáv Cser & Zoltán Rácz) [381/1172]
15. Captain Beefheart, “Hobo Chang Ba” from Trout Mask Replica [342/1172]

Two appearances in that shuffle of Captain Beefheart, and days before his passing. Coincidence? . . .

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And just last night, spilling into this morning (honest):

1. Beethoven, Symphony № 9 in d minor, Opus 125, from iv – Seid umschlungen (Gewandhaus Orchestra & al., Masur) [22/1308]
2. Prokofiev, Romeo & Juliet, Opus 64, Act II, scene iii, № 23 Romeo & Mercutio, Andante teneroso (BSO, Ozawa) [71/1308]
3. Vaughan Williams, Symphony № 9, i. Moderato maestoso (London Phil, Haitink) [633/1308]
4. Genesis, “Cinema Show” from Selling England by the Pound [209/1308]
5. Monteverdi, Vespro della Beata Vergine, VII. Motet, “Duo Seraphim” (Boston Baroque, Pearlman) [1197/1308]
6. Bartók, Táncszvit, Sz. 77, Molto tranquillo (LSO, Doráti) [239/1308]
7. Stravinsky, De elegia prima from Threni (Robt Craft conducting) [243/1308]
8. Bonzo Dog Doo/Dah Band, “Are You Having Any Fun?” from Keynsham (reissued w/ bonus tracks) [160/1308]
9. Prokofiev, Piano Concerto № 4 in B-flat, Opus 53, ii. Andante (Béroff, Gewandhausorchester, Masur) [682/1308]
10. Prokofiev, Romeo & Juliet, Opus 64, Act I, scene i, № 6 The Fight, Presto (BSO, Ozawa) [38/1308]
11. Prokofiev, Cinderella, Opus 87, Act II, № 23 Skinny’s Variation (Cleveland Orchestra, Ashkenazy) [105/1308]
12. Bartók, String Quartet № 4, Sz. 91, iii. Non troppo lento (Emerson String Quartet) [933/1308]
13. Shostakovich, Symphony № 5 in d minor, Opus 47, i. Moderato (CSO, Previn) [1039/1308]
14. Stravinsky, Sensus spei from Threni (Robt Craft conducting) [762/1308]
15. Hindemith, Part I from Konzertmusik Opus 50 for strings & brass (NY Phil, Bernstein) [502/1308]
16. Webern, Variationen, Opus 30 (Berlin Phil, Boulez) [1187/1308]
17. Jethro Tull, “Roots to Branches” from The Very Best of Jethro Tull [736/1308]
18. Prokofiev, Cinderella, Opus 87, Act II, № 25 Dance of the Courtiers (repeat) (Cleveland Orchestra, Ashkenazy) [107/1308]
19. Talking Heads, “The Listening Wind” from Remain in Light [542/1308]
20. Bartók, a 15-second bit from The Miraculous Mandarin (LSO, Doráti) [1118/1308]

Consistently, a lot of tracks appearing from the Prokofiev ballets. I like them, and they hold up.

And, quite reliably, appearances from Threni. Which is always good, too.

We did get just one track from the new uploads, the Boston Baroque Monteverdi Vespers of 1610.

“Cinema Show” sneaking in there in between the Vaughan Williams Ninth and the Monteverdi . . . that's one of those shuffle juxtapositions which one would never think deliberately to program, yet it’s agreeably startling.

The Hindemith right after the Sensus spei, actually . . . was more startling. The twelve-string opening of “Cinema Show” actually was quite a subtle shift from the close of the Moderato maestoso. Well, and the Bonzos will be a disruption after almost anything, I suppose. God, I love them so.