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WAYLTL - May 2013
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Oscar
May 1, 2013, 7:58:21 PM5/1/13
to
• Ockeghem: Requiem - Ensemble Organum / Marcel Pérès [Harmonia Mundi
901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
November 1992, Artistic direction & Sound engineer: Pere Casulleras,
booklet notes: George Houle — an Harmonia Mundi classic!]
From Amazon reviewer 'Steven Guy' http://tiny.cc/4gjfww
<< The work is performed at a considerably lower pitch than most of
current recordings available, I am guessing that the work is performed
around a fourth or fifth lower than the written pitch of the work.
Obviously, pitch is a relative thing and a work such as this, which
would have been performed by male voices, should be performed in a
comfortable range for the choristers. Pro Cantione Antiqua also
performed the work with entirely male voices, but theirs was much
closer to the written pitch and this ensemble used countertenors on
the cantus and altus lines. Ensemble Organum only use tenors,
baritones and basses and their recording plunges the work down into a
very deep region of the human voice. >>
From booklet notes by George Houle:
<< Johannes Ockeghem was born ca. 1420, and he died on February 6,
1497. Guillaume Crétin's déploration commented on his beautiful voice,
exceptional compositions, and his kindness, generosity, honesty, and
piety. Francesco Florio described him in 1477 as 'so handsome in
appearance, so grave and gracious in manner and speech.'
Ockeghem was among the officers of the [French] royal household for
whom black robes and hoods were made to be worn in mourning for the
death of Charles VII in July of 1461. Ockeghem's Requiem was probably
composed for this funeral; it may have also been performed at the
funeral of Louis XI in 1483.
Polyphony replaced plainchant only on exceptional occasions and was
the province of musical specialists such as premier chapelain Ockeghem
and his choristers. Except for Dufay's Requiem (now lost), Ockeghem's
is the first polyphonic setting of the Mass for the Dead.
...In the culminating sections of his Requiem, Ockeghem's style
becomes clearly that of his maturity, familiar to those acquainted
with his late Masses such as the Missa cuiusvis toni and Missa mi mi.
The full resonance of the four independent voices, often without
imitative connections between them, the supple melodic lines given to
each voice, and the long-breathed phrases that have few strong
cadential stopping points display Ockeghem's most characteristic
musical flow. Few other Renaissance composers could evoke the long-
unfolding, rich, constantly new succession of subtle musical ideas
that always mirror the meaning of the text yet never make obvious
interpretations. >>
Amen.
901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
November 1992, Artistic direction & Sound engineer: Pere Casulleras,
booklet notes: George Houle — an Harmonia Mundi classic!]
From Amazon reviewer 'Steven Guy' http://tiny.cc/4gjfww
<< The work is performed at a considerably lower pitch than most of
current recordings available, I am guessing that the work is performed
around a fourth or fifth lower than the written pitch of the work.
Obviously, pitch is a relative thing and a work such as this, which
would have been performed by male voices, should be performed in a
comfortable range for the choristers. Pro Cantione Antiqua also
performed the work with entirely male voices, but theirs was much
closer to the written pitch and this ensemble used countertenors on
the cantus and altus lines. Ensemble Organum only use tenors,
baritones and basses and their recording plunges the work down into a
very deep region of the human voice. >>
From booklet notes by George Houle:
<< Johannes Ockeghem was born ca. 1420, and he died on February 6,
1497. Guillaume Crétin's déploration commented on his beautiful voice,
exceptional compositions, and his kindness, generosity, honesty, and
piety. Francesco Florio described him in 1477 as 'so handsome in
appearance, so grave and gracious in manner and speech.'
Ockeghem was among the officers of the [French] royal household for
whom black robes and hoods were made to be worn in mourning for the
death of Charles VII in July of 1461. Ockeghem's Requiem was probably
composed for this funeral; it may have also been performed at the
funeral of Louis XI in 1483.
Polyphony replaced plainchant only on exceptional occasions and was
the province of musical specialists such as premier chapelain Ockeghem
and his choristers. Except for Dufay's Requiem (now lost), Ockeghem's
is the first polyphonic setting of the Mass for the Dead.
...In the culminating sections of his Requiem, Ockeghem's style
becomes clearly that of his maturity, familiar to those acquainted
with his late Masses such as the Missa cuiusvis toni and Missa mi mi.
The full resonance of the four independent voices, often without
imitative connections between them, the supple melodic lines given to
each voice, and the long-breathed phrases that have few strong
cadential stopping points display Ockeghem's most characteristic
musical flow. Few other Renaissance composers could evoke the long-
unfolding, rich, constantly new succession of subtle musical ideas
that always mirror the meaning of the text yet never make obvious
interpretations. >>
Amen.
laraine
May 2, 2013, 11:30:58 PM5/2/13
to
On May 1, 6:58 pm, Oscar <oscaredwardwilliam...@gmail.com> wrote:
> • Ockeghem: Requiem - Ensemble Organum / Marcel Pérès [Harmonia Mundi
> 901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
> November 1992, Artistic direction & Sound engineer: Pere Casulleras,
> booklet notes: George Houle — an Harmonia Mundi classic!]
>
> From Amazon reviewer 'Steven Guy'http://tiny.cc/4gjfww
>
> << The work is performed at a considerably lower pitch than most of
> current recordings available, I am guessing that the work is performed
> around a fourth or fifth lower than the written pitch of the work.
> Obviously, pitch is a relative thing and a work such as this, which
> would have been performed by male voices, should be performed in a
> comfortable range for the choristers. Pro Cantione Antiqua also
> performed the work with entirely male voices, but theirs was much
> closer to the written pitch and this ensemble used countertenors on
> the cantus and altus lines. Ensemble Organum only use tenors,
> baritones and basses and their recording plunges the work down into a
> very deep region of the human voice. >>
Lots of early music seems to present a
> • Ockeghem: Requiem - Ensemble Organum / Marcel Pérès [Harmonia Mundi
> 901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
> November 1992, Artistic direction & Sound engineer: Pere Casulleras,
> booklet notes: George Houle — an Harmonia Mundi classic!]
>
> From Amazon reviewer 'Steven Guy'http://tiny.cc/4gjfww
>
> << The work is performed at a considerably lower pitch than most of
> current recordings available, I am guessing that the work is performed
> around a fourth or fifth lower than the written pitch of the work.
> Obviously, pitch is a relative thing and a work such as this, which
> would have been performed by male voices, should be performed in a
> comfortable range for the choristers. Pro Cantione Antiqua also
> performed the work with entirely male voices, but theirs was much
> closer to the written pitch and this ensemble used countertenors on
> the cantus and altus lines. Ensemble Organum only use tenors,
> baritones and basses and their recording plunges the work down into a
> very deep region of the human voice. >>
wonderful opportunity for female high
and low altos to get involved, considering
that such roles seem to be rarer in more
recent classical music.
I have just listened to a Elizabeth Leonskaja
programme on BBC 3 that included the
Tchaikovsky piano Grand Sonata in G major,
Op. 37. I think that many of the pianists who
today focus on the Chopin and Beethoven
sonatas should try this one too.
Also heard Alexander Gavrylyuk at Wigmore,
on BBC 3, where he did a fine Mozart Rondo
K.485,
http://www.bbc.co.uk/programmes/p018cjrl
as well as some Russian pieces. For an encore,
he did an over the top Horowitz version of the
Mendelssohn wedding march.
C.
Oscar
May 3, 2013, 4:56:01 AM5/3/13
to
• Schnittke: Life with an Idiot, opera in two acts (libretto by Victor
Erofeyev) - Vocal Ensemble of the Netherlands Opera (vocal coaching:
Winifried Maczewski), Rotterdam Philharmonic Orchestra / Mstislav
Rostropovich [Sony Classical S2K 52495 2CD ℗ © 1992, Producer: Andreas
Neubronner, Engineer: Markus Herzog, Recorded live at Het
Muziektheatre, De Nederlandse Opera, Amsterdam, April 16-26, 1992 — if
you love The Nose or Wozzeck, as I do, this opera is for you — the
opera began in Winter 1990 (after Schittke's first stroke) and was
premiered in Spring 1992 (a year before his much more debilitating
second stroke) — to this listening, the work's shortcoming is in its
episodic nature, lack of the kind of cumulative musical substance that
keeps things moving — all the same, however, Schinittke is nothing if
not his typical Russian self: witty, touching, disturbing — the
libretto is a echt-Russian scathing satire, with lots of ff and up
singing for most of the work]
I :: Dale Duesing [Bariton], Roman Bischoff [Bariton]
Wife :: Teresa Ringholz [S]
Vova :: Howard Haskin [T]
Guard :: Leonid Zimnenko [B]
Marcel Proust :: Robin Leggate [Bariton]
Erofeyev) - Vocal Ensemble of the Netherlands Opera (vocal coaching:
Winifried Maczewski), Rotterdam Philharmonic Orchestra / Mstislav
Rostropovich [Sony Classical S2K 52495 2CD ℗ © 1992, Producer: Andreas
Neubronner, Engineer: Markus Herzog, Recorded live at Het
Muziektheatre, De Nederlandse Opera, Amsterdam, April 16-26, 1992 — if
you love The Nose or Wozzeck, as I do, this opera is for you — the
opera began in Winter 1990 (after Schittke's first stroke) and was
premiered in Spring 1992 (a year before his much more debilitating
second stroke) — to this listening, the work's shortcoming is in its
episodic nature, lack of the kind of cumulative musical substance that
keeps things moving — all the same, however, Schinittke is nothing if
not his typical Russian self: witty, touching, disturbing — the
libretto is a echt-Russian scathing satire, with lots of ff and up
singing for most of the work]
I :: Dale Duesing [Bariton], Roman Bischoff [Bariton]
Wife :: Teresa Ringholz [S]
Vova :: Howard Haskin [T]
Guard :: Leonid Zimnenko [B]
Marcel Proust :: Robin Leggate [Bariton]
Mandryka
May 3, 2013, 5:42:04 AM5/3/13
to
Haydn piano trios from the set by Trio 1779. Very good, this is the
best complete set of trios I've heard, I prefer it to Van Swietwn and
BAT. Also Haydn sonatas played by Lars Ulrich Mortensen and Yuko
Wataya.
And Brahms, especially op 106 in the complete Lieder set with
Vermillion, Banse, Schmidt and Deutsch.why is Op 106 so neglected? All
five songs are wonderful. And a major find, Hynninen/Gothoni in op126.
The latter is set to become a major favourite.
Apart from that, Franz Vorraber's Schumann has been kicking around.
Especially the extraordinary Fantasiestüke.
best complete set of trios I've heard, I prefer it to Van Swietwn and
BAT. Also Haydn sonatas played by Lars Ulrich Mortensen and Yuko
Wataya.
And Brahms, especially op 106 in the complete Lieder set with
Vermillion, Banse, Schmidt and Deutsch.why is Op 106 so neglected? All
five songs are wonderful. And a major find, Hynninen/Gothoni in op126.
The latter is set to become a major favourite.
Apart from that, Franz Vorraber's Schumann has been kicking around.
Especially the extraordinary Fantasiestüke.
Mandryka
May 3, 2013, 7:56:22 AM5/3/13
to
songs.
Oscar
May 4, 2013, 4:43:11 AM5/4/13
to
On May 3, 4:56 am, Mandryka wrote:
>
> That should have been Hynninen/Gothoni doing op 121, the serious
> songs.
I have that disc, absolutely superb!! http://tiny.cc/w4wjww
>
> That should have been Hynninen/Gothoni doing op 121, the serious
> songs.
Alan Cooper
May 4, 2013, 8:57:36 AM5/4/13
to
Oscar <oscaredwar...@gmail.com> wrote in news:40eb6abb-be99-40f4-
b7bd-ae9...@zo5g2000pbb.googlegroups.com:
Do you know any Hynninen recordings that aren't? One of the great artists
of our time. Gothoni is a genius as well.
AC
b7bd-ae9...@zo5g2000pbb.googlegroups.com:
of our time. Gothoni is a genius as well.
AC
Oscar
May 4, 2013, 6:25:21 PM5/4/13
to
On May 4, 5:57 am, Alan Cooper wrote:
>
> Do you know any Hynninen recordings that aren't? One of the great artists
> of our time. Gothoni is a genius as well.
Just discovered Hynninen last year! He is as you say. Also have
>
> Do you know any Hynninen recordings that aren't? One of the great artists
> of our time. Gothoni is a genius as well.
acquired two Schubert titles, also on Ondine.
Now playing:
• Rossi (Luigi, 1597-1653): Two Oratorios - Les Arts Florissants /
William Christie [Harmonia Mundi HMC 901091 CD ℗ 1982 © 1987, Recorded
January 1982, Producer: Jean-François Pontefract, Musical assistance:
Marcel Fremiot, Transcriptions: John Burke, Liner notes: Howard E.
Smither — penitential texts by Rossi's contemporary, poet Giovanni
Lotti, and considered appropriate for Lent — Rossi wrote about 300
secular cantatas, two operas, and at least five oratorios, the pair
presented here dating from early 1640's, when Rossi was in the employ
of one of Rome's most munificent patrons of the arts, Cardinal Antonio
Barberni — the anonymous manuscripts were found in the Vatican
library]
— Il pecator pentito ('Mi son fatto nemico')
— O Cecità del misero mortale
From liner notes by Howard E. Smither:
<< Musically, both oratorios are characteristic of Rossi's vocal works
in their flexible style of recitative incorporating brief arioso
passages, graphic word painting, and sensitive melodic rendering of
affective words and phrases; their short arias, normally accompanied
by basso continuo only; their small-scale vocal and instrumental
ensembles, sometimes repeated as ritornelli; and their more imposing
final ensembles, in the tradition of the seventeenth-century continuo
madrigal. Of special interest in these oratorios, as in the others
attributed to Rossi, is the use of the lirone, or lira da gamba. The
sustained organ-like quality of this bowed-string instrument, which
had from nine to fourteen melody strings and two to four drone
strings, was considered in Rossi's time to be particularly appropriate
for the accompaniments of texts of deep pathos. In both oratorios,
this instrument is first heard accompanying the initial recitative,
and is heard frequently thereafter. >>
wkasimer
May 6, 2013, 7:21:53 AM5/6/13
to
On May 4, 8:57 am, Alan Cooper <amcoope...@SPAMoptonline.net> wrote:
> >> That should have been Hynninen/Gothoni doing op 121, the serious
> >> songs.
>
> > I have that disc, absolutely superb!!http://tiny.cc/w4wjww
> >> That should have been Hynninen/Gothoni doing op 121, the serious
> >> songs.
>
>
> Do you know any Hynninen recordings that aren't?
Well, "Evergreens" isn't up to Hynninen's usual high standards -
> Do you know any Hynninen recordings that aren't?
http://www.amazon.com/gp/product/B000050V0U
Bill
Alan Cooper
May 6, 2013, 8:11:33 AM5/6/13
to
wkasimer <wkas...@comcast.net> wrote in news:cea63bbc-d82a-4005-98fd-
41f149...@kq11g2000pbb.googlegroups.com:
Never heard of it, but I wouldn't have, given an aversion to such crossover
efforts. So even Hynninen nods :-)
AC
41f149...@kq11g2000pbb.googlegroups.com:
efforts. So even Hynninen nods :-)
AC
Oscar
May 9, 2013, 4:55:42 AM5/9/13
to
• Mozart: Die Zauberflöte, opera in two acts, K. 620 (libretto:
Emanuel Schikaneder) - Chœur de Chambre Romande & Pro Arte de Lausanne
(Chorus master: André Charlet), Ensemble Orchestral de Paris / Armin
Jordan (Artistic advisor: Jean-Pierre Brossman, Musical advisor:
Rainer Altorfer) [Erato 2292-45469-2 ℗ © 1991 2CD boxed set, Recoded
in Salle Wagram, Paris, October 1989, Recording supervision: Michel
Garcin, Sound engineer: Jean Chatauret, Dialogue engineer: Jacques
Doll, Assistant: Benoît Fort, Editing: Françoise Garcin — a very fine
Magic Flute, overlooked like most of Jordan's recordings, yet tonight
I listened to it straight-through with seldom a thought about that
which I'd wish to change]
Sarastro :: Franz-Joseph Selig (B)
Tamino :: Gosta Winbergh (T)
Speaker :: Alfred Muff (B)
First Priest :: Hans-Peter Graf (T)
Second Priest :: Alfred Muff (B)
Queen of the Night :: Sumi Jo (S)
Pamina, her daughter :: Luba Orgonasova (S)
First Lady :: Charlotte Margiono (S)
Second Lady :: Brigitte Balleys (S)
Thirdy Lady :: Nathalie Stutzmann (Mezzo-S)
Papageno :: Håkan Hagegård (Bariton)
Papagena :: Martina Bovet (S)
Monostatos :: Volker Vogel (T)
Three Boys :: Christian Fliegner, Markus Baur, Christian Günter
(soloists with Tölz Boys' Choir)
First Armed Man :: Hans-Peter Graf (T)
Second Armed Man :: Reinhard Hagen (B)
Speaking roles
(Dialogue arrangement and supervision: Martin Markun)
Sarastro :: Thomas Härtner
Papageno :: André Jung
Tamino :: Peter Jecklin
First Priest :: Georg Hölzner
Second Priest :: Sigi Schvientek
Monostatos :: Rainer Altorfer
Pamina :: Ursula Grossenbacher
First Lady :: Gisela Balzer
Second Lady :: Dorothee Labusch
Third Lady :: Monika Koch
Queen of the Night :: Stefanie Verkeerk
Papagena :: Martina Bovet
Emanuel Schikaneder) - Chœur de Chambre Romande & Pro Arte de Lausanne
(Chorus master: André Charlet), Ensemble Orchestral de Paris / Armin
Jordan (Artistic advisor: Jean-Pierre Brossman, Musical advisor:
Rainer Altorfer) [Erato 2292-45469-2 ℗ © 1991 2CD boxed set, Recoded
in Salle Wagram, Paris, October 1989, Recording supervision: Michel
Garcin, Sound engineer: Jean Chatauret, Dialogue engineer: Jacques
Doll, Assistant: Benoît Fort, Editing: Françoise Garcin — a very fine
Magic Flute, overlooked like most of Jordan's recordings, yet tonight
I listened to it straight-through with seldom a thought about that
which I'd wish to change]
Sarastro :: Franz-Joseph Selig (B)
Tamino :: Gosta Winbergh (T)
Speaker :: Alfred Muff (B)
First Priest :: Hans-Peter Graf (T)
Second Priest :: Alfred Muff (B)
Queen of the Night :: Sumi Jo (S)
Pamina, her daughter :: Luba Orgonasova (S)
First Lady :: Charlotte Margiono (S)
Second Lady :: Brigitte Balleys (S)
Thirdy Lady :: Nathalie Stutzmann (Mezzo-S)
Papageno :: Håkan Hagegård (Bariton)
Papagena :: Martina Bovet (S)
Monostatos :: Volker Vogel (T)
Three Boys :: Christian Fliegner, Markus Baur, Christian Günter
(soloists with Tölz Boys' Choir)
First Armed Man :: Hans-Peter Graf (T)
Second Armed Man :: Reinhard Hagen (B)
Speaking roles
(Dialogue arrangement and supervision: Martin Markun)
Sarastro :: Thomas Härtner
Papageno :: André Jung
Tamino :: Peter Jecklin
First Priest :: Georg Hölzner
Second Priest :: Sigi Schvientek
Monostatos :: Rainer Altorfer
Pamina :: Ursula Grossenbacher
First Lady :: Gisela Balzer
Second Lady :: Dorothee Labusch
Third Lady :: Monika Koch
Queen of the Night :: Stefanie Verkeerk
Papagena :: Martina Bovet
Oscar
May 10, 2013, 2:11:36 AM5/10/13
to
• Brahms: Violin Concerto in D major, Op. 77 - Leonid Kogan (vln);
Philharmonia Orchestra / Kyrill Kondrashin [Guild Historical GHCD 2394
℗ © 2012, Recorded in stereo at Abbey Road Studios, London, February
22 & 26, 1959, Originally issued on Columbia (UK) SAX 2307, Master
source for this reissue: LP's from collection of Paul Brooks,
Remastering from original LP's: Peter Reynolds, Final master
preparation: Reynolds Mastering, Colchester, England, Booklet notes:
Robert Matthew-Walker — it does not get any better than this 'awesome'
recording, IMHO, and a superb transfer in this edition, to boot
http://tiny.cc/x4tuww no clicks, swishes, surface noise]
Philharmonia Orchestra / Kyrill Kondrashin [Guild Historical GHCD 2394
℗ © 2012, Recorded in stereo at Abbey Road Studios, London, February
22 & 26, 1959, Originally issued on Columbia (UK) SAX 2307, Master
source for this reissue: LP's from collection of Paul Brooks,
Remastering from original LP's: Peter Reynolds, Final master
preparation: Reynolds Mastering, Colchester, England, Booklet notes:
Robert Matthew-Walker — it does not get any better than this 'awesome'
recording, IMHO, and a superb transfer in this edition, to boot
http://tiny.cc/x4tuww no clicks, swishes, surface noise]
Alan Cooper
May 10, 2013, 8:30:22 AM5/10/13
to
Oscar <oscaredwar...@gmail.com> wrote in news:ed8028cb-a136-4b4f-
86e5-7c1...@z10g2000yqd.googlegroups.com:
Is this for real (the price, I mean):
http://collectorsfrenzy.com/details/150962932210/SAX_2307
_LEONID_KOGAN_KONDRASHIN_BRAHMS_VIOLIN_CONCERTO_TOP_NM
It isn't even Kogan's best recorded performance of the work! (That would
be http://www.amazon.com/dp/B000R7DOEK on Monopole with Eliasberg.) And
was there something wrong with the reissue of Kogan/Kondrashin on EMI
Artist Profile CD, readliy available either used or on ArkivCD?
I'm not being critical, just curious.
AC
86e5-7c1...@z10g2000yqd.googlegroups.com:
http://collectorsfrenzy.com/details/150962932210/SAX_2307
_LEONID_KOGAN_KONDRASHIN_BRAHMS_VIOLIN_CONCERTO_TOP_NM
It isn't even Kogan's best recorded performance of the work! (That would
be http://www.amazon.com/dp/B000R7DOEK on Monopole with Eliasberg.) And
was there something wrong with the reissue of Kogan/Kondrashin on EMI
Artist Profile CD, readliy available either used or on ArkivCD?
I'm not being critical, just curious.
AC
Oscar
May 14, 2013, 3:45:27 AM5/14/13
to
On May 10, 5:30 am, Alan Cooper wrote:
>
> It isn't even Kogan's best recorded performance of the work! (That would
> be http://www.amazon.com/dp/B000R7DOEKon Monopole with Eliasberg.) And
>
> It isn't even Kogan's best recorded performance of the work! (That would
> was there something wrong with the reissue of Kogan/Kondrashin on EMI
> Artist Profile CD, readliy available either used or on ArkivCD?
>
> I'm not being critical, just curious.
Alan, thanks for the recommendation on the 'other' Kogan Brahms VC.
> Artist Profile CD, readliy available either used or on ArkivCD?
>
> I'm not being critical, just curious.
Have not heard it.
I don't have the ArtistProfile CD you mention, but I did find a copy
of the Guild Historical disc in a store used for a fiver. So I took
it. The transfer and mastering is top-notch. I think Testament also
reissued it on 180g LP.
Oscar
May 14, 2013, 3:53:56 AM5/14/13
to
• Brahms: Sonatas for Piano and Violoncello, Opp. 38 & 99 • Schumann:
5 Stücke im Volkston, for violoncello and piano, Op. 102 - Anner
Bylsma (vlc, the 'Servais', Antonio Stradivari, Cremona, 1701),
Lambert Orkis (pf, the 'Paderewski', Steinway & Sons, New York, 1892)
[Sony Classical 'Vivarte' SK 68 249 ℗ © 1995, Recorded at American
Academy of Arts and Letters, New York City, January 26-29, 1995,
Producer/Recording supervisor: Wolf Erichson, Recording engineer:
Stephan Schellman (Tritonus) — instruments from the collection of the
Smithsonian Institution]
5 Stücke im Volkston, for violoncello and piano, Op. 102 - Anner
Bylsma (vlc, the 'Servais', Antonio Stradivari, Cremona, 1701),
Lambert Orkis (pf, the 'Paderewski', Steinway & Sons, New York, 1892)
[Sony Classical 'Vivarte' SK 68 249 ℗ © 1995, Recorded at American
Academy of Arts and Letters, New York City, January 26-29, 1995,
Producer/Recording supervisor: Wolf Erichson, Recording engineer:
Stephan Schellman (Tritonus) — instruments from the collection of the
Smithsonian Institution]
Oscar
May 14, 2013, 5:41:51 AM5/14/13
to
• Weinberg: Complete Songs Volume One - Olga Kalugina (S), Svetlana
Nikolayeva (Mezzo-S), Dmitry Korostelyov (pf) [Toccata Classics TOCC
0078 ℗ © 2008, Recorded at the Concert Hall of the Gnessin Musical
College, Moscow, November 3, 2006 (Op. 13); December 19 & 23, 2006
(Op. 110); April 12, 2007 (Op. 50), Producers: Yury Abdokov and Igor
Prokorov (Boris Tchaikovsky Society), Sound engineer/Supervisor: Pyotr
Kirillovich Kondrashin, Assistant/Editor: Elena Sych, Booklet essay:
David Fanning, Executive producer: Martin Anderson — some gems here,
among the 200 or so songs that are projected to be realized in this
recorded series, in particular the Jewish folk song-inspired
Children's Songs, which wear on its sleeve a sub-Shostakovich
influence (or vice-versa as it were)]
— Children's Songs, for soprano and piano by Itzhok Lejb Perez, Op. 13
— Beyond the Border of Past Days, song-cycle for mezzo-soprano and
piano to poems by Alexander Blok, Op. 50
— Rocking the Child, song-cycle for soprano on poems by Gabriela
Mistral, Op. 110
Nikolayeva (Mezzo-S), Dmitry Korostelyov (pf) [Toccata Classics TOCC
0078 ℗ © 2008, Recorded at the Concert Hall of the Gnessin Musical
College, Moscow, November 3, 2006 (Op. 13); December 19 & 23, 2006
(Op. 110); April 12, 2007 (Op. 50), Producers: Yury Abdokov and Igor
Prokorov (Boris Tchaikovsky Society), Sound engineer/Supervisor: Pyotr
Kirillovich Kondrashin, Assistant/Editor: Elena Sych, Booklet essay:
David Fanning, Executive producer: Martin Anderson — some gems here,
among the 200 or so songs that are projected to be realized in this
recorded series, in particular the Jewish folk song-inspired
Children's Songs, which wear on its sleeve a sub-Shostakovich
influence (or vice-versa as it were)]
— Children's Songs, for soprano and piano by Itzhok Lejb Perez, Op. 13
— Beyond the Border of Past Days, song-cycle for mezzo-soprano and
piano to poems by Alexander Blok, Op. 50
— Rocking the Child, song-cycle for soprano on poems by Gabriela
Mistral, Op. 110
Oscar
May 14, 2013, 6:38:27 AM5/14/13
to
• Schumann: Piano Concerto in A minor, Op. 54 • Chopin: Piano Concerto
No. 2 in F minor, Op. 21* - Clara Haskil (pf); Danish Radio Orchestra,
Orchestre de la Société des Concerts du Conservatoire* / Rafael
Kubelik [Tahra 736 ℗ © 2012, Schumann PC recorded in Copenhagen,
February 17, 1955, Chopin PC recorded in Paris, January 31, 1960,
Remastering: Charles Eddi — the Schumann PC is a previously unissued
recording, and it is quite fantastic]
From liner notes (uncredited in French, English translation by Dr.
Gary Lemco):
<< In 1951, Clara Haskil signed an exclusive contract with Philips,
which led to a series of recordings that only rarely satisfied her and
which, according to those who heard her on stage, only give a blurred
image of her talent. Furthermore, this contract prevented her from
making studio recordings with some of her best-loved conductors like
Giulini, Keilberth, or Kubelik. There are two exceptions: in 1956,
Columbia convinced Philips to 'lend' them Clara Haskil for two
concertos with Geza And a under Alceo Galliera; and in 1957, with
Ferenc Fricsay, thanks to an agreement between Philips and Deutsche
Grammophon for the release of the Mozart Piano Concerto No. 27
recorded in Munich. But despite Columbia's magnificent propositions,
Haskil remained faithful to Philips. (1)
By chance, a number of live recordings have greatly increased Haskil's
studio discography. The two present concertos are live recordings: the
Schumann Concerto (2) recorded in Copenhagen in February 1955, and the
Chopin Concerto, recorded in Paris in January 1960 with the same
conductor, Rafael Kubelik. The Schumann is a first-time release. This
concert was recorded in Copenhagen via the telephone but two minutes
are lost (at the end of the second movement and the beginning of the
third). We filled this gap with the same passage taken from the
concert with Kletzki of July 1953.
Kubelik recalls (3):
<< I won't ever forget my first encounter with Clara Haskil. It
happened in Amsterdam, where for the first time I was to conduct her
and the Concertgebouw Orchestra. As we walked down the long staircase
towards the podium, Clara suddenly stopped and waited hesitatingly
like a horse in front of an obstacle. I pushed her gently, and
laughing we gained the stage. This little episode is for me more than
a simple anecdote because it really symbolizes our collaboration over
the years. It had a very special nuance of our mutual confidence that
characterized our relationship. I trusted her that at that right
moment, she 'would jump' and she knew that I wouldn't 'push' her
either excessively or too little.
These same nuances existed in her piano playing that unfolded in
masterful passages and filigree allowing her most extreme shades. When
she played, she compelled the entire orchestra to listen to her and to
react to her intentions. Thus, she eased the conductor's task of
obtaining a perfect symbiosis on one and the same diapason. A seraphic
clarity emanated from her, which immediately made me call her
'Clarissima'. But it is not only on an artistic level but specially on
a human level that I owe Clara Haskil one of my greatest friendships.
Her sufferings had refined in her the understanding of value and of
the deepest needs, to the point that she recognized the meaning of the
slightest kindness and never forgot to manifest her own friendship
through little testimonials.
clara Haskil remains for me the touching incarnation of spirituality:
meaning that through the ordeals of our earthly existence, through
physical and spiritual suffering, Man reaches a point in which the
forces of the spirit and of the soul become sublimated, an ordeal
giving life to the highest degree of truth to reach its complete
fulfillment. This transfiguration develops in parallel — though in the
opposite direction — with the phenomenon of musical revelation that
enters into this world from the regions of spirit, of creation, and
well beyond the senses, to physically materialize in the form of
sound. But the place in which these two paths meet up, and a human
being with a pure heart meets the revelation of music, palpably
materializes this same kind of rare sublimation that Clara Haskil
fulfilled in the most perfectly human and artistic way. >>
Seven concerts with Haskil and Kubelik are listed:
• January 1, 1950, at the Hague, with the Concertgebouw Orchestra
(Mozart Concerto K. 466)
• January 27 1952, at the Hague, with the Concertgebouw Orchestra
(Mozart Concerto K. 271)
• January 24 1953, in Amsterdam, with the Concertgebouw Orchestra
(Schumann Concerto)
• January 31, 1954, with the Concertgebouw Orchestra (Mozart Concerto
K. 459)
• February 17, 1955, in Copenhagen, with the Danish Radio Orchestra
(Schumann Concerto)
• March 16, 1955, in Geneva, with the Orchestra de la Suisse Romande
(Chopin Concerto No. 2)
• January 31, 1960, in Paris, with the Orchestra de la Suisse Romande
(Chopin Concerto No. 2)
The Journal de Genève wrote on March 17, 1955:
<< Both these artists' value surpasses the works in which we heard
them last night. 'Nothing is more boring that a corny Chopin,' opined
Florent Schmitt one day. That was the case of this F minor Concerto in
which the authenticity of music was simply swept away by a vapid and
useless orchestra. You had to be Clara Haskil, who with her
enchantress' gifts and her extraordinary power of evocation, managed
to impose herself in this piece and light up the public's enthusiasm.
>>
Footnotes:
(1) In 1955, the project to record all Mozart concertos with Kubelik
failed due to their respective exclusivity clauses. Kubelik wrote to
Clara Haskil: 'I don't believe that Decca will free me, but you know
how much I would love to make these recordings with you . . . let's
hope that one days this may come true.'
(2) Haskil recorded this concerto for Philips in September 1951, with
the Dutch conductor Willem van Otterloo. In a letter she wrote:
<< The recordings are 'lousy', and no competent musicians will vouch
the release of the Schumann Concerto, which is particularly bad also
from a technical point of view. Even the soli are no better. If
Philips releases the Schumann despite general opposition, I will be
entitled to break my contract with them. >>
However, the recording was released with great success...a success
which Haskil never understood!
(3) Quote by Rita Wolfensberger, 'Clara Haskil' (Scherz Verlag 1961)
No. 2 in F minor, Op. 21* - Clara Haskil (pf); Danish Radio Orchestra,
Orchestre de la Société des Concerts du Conservatoire* / Rafael
Kubelik [Tahra 736 ℗ © 2012, Schumann PC recorded in Copenhagen,
February 17, 1955, Chopin PC recorded in Paris, January 31, 1960,
Remastering: Charles Eddi — the Schumann PC is a previously unissued
recording, and it is quite fantastic]
From liner notes (uncredited in French, English translation by Dr.
Gary Lemco):
<< In 1951, Clara Haskil signed an exclusive contract with Philips,
which led to a series of recordings that only rarely satisfied her and
which, according to those who heard her on stage, only give a blurred
image of her talent. Furthermore, this contract prevented her from
making studio recordings with some of her best-loved conductors like
Giulini, Keilberth, or Kubelik. There are two exceptions: in 1956,
Columbia convinced Philips to 'lend' them Clara Haskil for two
concertos with Geza And a under Alceo Galliera; and in 1957, with
Ferenc Fricsay, thanks to an agreement between Philips and Deutsche
Grammophon for the release of the Mozart Piano Concerto No. 27
recorded in Munich. But despite Columbia's magnificent propositions,
Haskil remained faithful to Philips. (1)
By chance, a number of live recordings have greatly increased Haskil's
studio discography. The two present concertos are live recordings: the
Schumann Concerto (2) recorded in Copenhagen in February 1955, and the
Chopin Concerto, recorded in Paris in January 1960 with the same
conductor, Rafael Kubelik. The Schumann is a first-time release. This
concert was recorded in Copenhagen via the telephone but two minutes
are lost (at the end of the second movement and the beginning of the
third). We filled this gap with the same passage taken from the
concert with Kletzki of July 1953.
Kubelik recalls (3):
<< I won't ever forget my first encounter with Clara Haskil. It
happened in Amsterdam, where for the first time I was to conduct her
and the Concertgebouw Orchestra. As we walked down the long staircase
towards the podium, Clara suddenly stopped and waited hesitatingly
like a horse in front of an obstacle. I pushed her gently, and
laughing we gained the stage. This little episode is for me more than
a simple anecdote because it really symbolizes our collaboration over
the years. It had a very special nuance of our mutual confidence that
characterized our relationship. I trusted her that at that right
moment, she 'would jump' and she knew that I wouldn't 'push' her
either excessively or too little.
These same nuances existed in her piano playing that unfolded in
masterful passages and filigree allowing her most extreme shades. When
she played, she compelled the entire orchestra to listen to her and to
react to her intentions. Thus, she eased the conductor's task of
obtaining a perfect symbiosis on one and the same diapason. A seraphic
clarity emanated from her, which immediately made me call her
'Clarissima'. But it is not only on an artistic level but specially on
a human level that I owe Clara Haskil one of my greatest friendships.
Her sufferings had refined in her the understanding of value and of
the deepest needs, to the point that she recognized the meaning of the
slightest kindness and never forgot to manifest her own friendship
through little testimonials.
clara Haskil remains for me the touching incarnation of spirituality:
meaning that through the ordeals of our earthly existence, through
physical and spiritual suffering, Man reaches a point in which the
forces of the spirit and of the soul become sublimated, an ordeal
giving life to the highest degree of truth to reach its complete
fulfillment. This transfiguration develops in parallel — though in the
opposite direction — with the phenomenon of musical revelation that
enters into this world from the regions of spirit, of creation, and
well beyond the senses, to physically materialize in the form of
sound. But the place in which these two paths meet up, and a human
being with a pure heart meets the revelation of music, palpably
materializes this same kind of rare sublimation that Clara Haskil
fulfilled in the most perfectly human and artistic way. >>
Seven concerts with Haskil and Kubelik are listed:
• January 1, 1950, at the Hague, with the Concertgebouw Orchestra
(Mozart Concerto K. 466)
• January 27 1952, at the Hague, with the Concertgebouw Orchestra
(Mozart Concerto K. 271)
• January 24 1953, in Amsterdam, with the Concertgebouw Orchestra
(Schumann Concerto)
• January 31, 1954, with the Concertgebouw Orchestra (Mozart Concerto
K. 459)
• February 17, 1955, in Copenhagen, with the Danish Radio Orchestra
(Schumann Concerto)
• March 16, 1955, in Geneva, with the Orchestra de la Suisse Romande
(Chopin Concerto No. 2)
• January 31, 1960, in Paris, with the Orchestra de la Suisse Romande
(Chopin Concerto No. 2)
The Journal de Genève wrote on March 17, 1955:
<< Both these artists' value surpasses the works in which we heard
them last night. 'Nothing is more boring that a corny Chopin,' opined
Florent Schmitt one day. That was the case of this F minor Concerto in
which the authenticity of music was simply swept away by a vapid and
useless orchestra. You had to be Clara Haskil, who with her
enchantress' gifts and her extraordinary power of evocation, managed
to impose herself in this piece and light up the public's enthusiasm.
>>
Footnotes:
(1) In 1955, the project to record all Mozart concertos with Kubelik
failed due to their respective exclusivity clauses. Kubelik wrote to
Clara Haskil: 'I don't believe that Decca will free me, but you know
how much I would love to make these recordings with you . . . let's
hope that one days this may come true.'
(2) Haskil recorded this concerto for Philips in September 1951, with
the Dutch conductor Willem van Otterloo. In a letter she wrote:
<< The recordings are 'lousy', and no competent musicians will vouch
the release of the Schumann Concerto, which is particularly bad also
from a technical point of view. Even the soli are no better. If
Philips releases the Schumann despite general opposition, I will be
entitled to break my contract with them. >>
However, the recording was released with great success...a success
which Haskil never understood!
(3) Quote by Rita Wolfensberger, 'Clara Haskil' (Scherz Verlag 1961)
Oscar
May 22, 2013, 4:32:18 AM5/22/13
to
Strauss (R): Also sprach Zarathustra, symphonic poem, Op. 30 • Don
Quixote, Fantastic Variations on a Theme of Knightly Character, Op. 35
- WDR Sinfonieorchester Köln / Dimitri Mitropoulos [Hunt Productions
HUNT CD 508 ℗ 1986, Recorded in Cologne, September 7, 1959, Sound
engineer: Hans Peter Ebner, Digital remastering: Idea Recording,
Booklet notes: Umberto Masini, disc made in France by MPO — this
concert was given to mark the tenth anniversary of the death of
Richard Strauss]
'Music, for me, is linked to religion and mysticism. Music strengthens
our faith in God.' - Dimitri Mitropoulos
Quixote, Fantastic Variations on a Theme of Knightly Character, Op. 35
- WDR Sinfonieorchester Köln / Dimitri Mitropoulos [Hunt Productions
HUNT CD 508 ℗ 1986, Recorded in Cologne, September 7, 1959, Sound
engineer: Hans Peter Ebner, Digital remastering: Idea Recording,
Booklet notes: Umberto Masini, disc made in France by MPO — this
concert was given to mark the tenth anniversary of the death of
Richard Strauss]
'Music, for me, is linked to religion and mysticism. Music strengthens
our faith in God.' - Dimitri Mitropoulos
Oscar
May 22, 2013, 5:29:52 AM5/22/13
to
• Marais: Suitte d'un Goût Étranger (1717), music for bass viol -
Christoph Coin (bass viol), Christoph Rousset (hpsd), Vittorio Ghielmi
(bass viol), Pascal Monteilhet (theorbo, g) [L'Oiseau-Lyre/Decca 458
144-2 ℗ © 1998, Recorded at Château du Touvet, Chambéry, France
(privately-owned 13th C. castle) http://tiny.cc/ujahxw September
22-26, 1996, Producer: Chris Sayers, Location engineer: Krzysztof
Jarosz, Recording editors: Jenni Whiteside, Ian Watson, Booklet notes:
Edmond Lemaître — ravishing and unassailably beautiful on all counts:
material, playing (individual and ensemble), recording — does it get
any better than this??]
Bass viol
• Christoph Coin — Nicolas Bertrand, Paris c.1715
Harpsichord
• Christoph Rousset — Nicolas Dumont, Paris 1707
Bass Viol
• Vittorio Ghielmi — Michael Colichon, Paris 1688
Theorbo
• Pascal Monteilhet — Mathias Durvie, Paris 1978
Guitar
• Pascal Monteilhet — Charles Besnainou, Paris 1996
Pitch a' = 392 Hz
Amazon link: http://tiny.cc/uabhxw
Christoph Coin (bass viol), Christoph Rousset (hpsd), Vittorio Ghielmi
(bass viol), Pascal Monteilhet (theorbo, g) [L'Oiseau-Lyre/Decca 458
144-2 ℗ © 1998, Recorded at Château du Touvet, Chambéry, France
(privately-owned 13th C. castle) http://tiny.cc/ujahxw September
22-26, 1996, Producer: Chris Sayers, Location engineer: Krzysztof
Jarosz, Recording editors: Jenni Whiteside, Ian Watson, Booklet notes:
Edmond Lemaître — ravishing and unassailably beautiful on all counts:
material, playing (individual and ensemble), recording — does it get
any better than this??]
Bass viol
• Christoph Coin — Nicolas Bertrand, Paris c.1715
Harpsichord
• Christoph Rousset — Nicolas Dumont, Paris 1707
Bass Viol
• Vittorio Ghielmi — Michael Colichon, Paris 1688
Theorbo
• Pascal Monteilhet — Mathias Durvie, Paris 1978
Guitar
• Pascal Monteilhet — Charles Besnainou, Paris 1996
Pitch a' = 392 Hz
Amazon link: http://tiny.cc/uabhxw
Dana John Hill
May 22, 2013, 5:13:02 PM5/22/13
to
Haydn: Trios for Flute, Violin, and Cello. Kuijken, Kuijken, Kuijken.
Accent.
Verdi: Giovanna d'arco. Levine/LSO. Caballe, Domingo, Milnes. EMI. I had
almost forgotten how enjoyable this recording is. As far as I'm
concerned, I'll never need another Giovanna d'arco. Domingo even hits a
high C-sharp.
Dana John Hill
Gainesville, Florida
Accent.
Verdi: Giovanna d'arco. Levine/LSO. Caballe, Domingo, Milnes. EMI. I had
almost forgotten how enjoyable this recording is. As far as I'm
concerned, I'll never need another Giovanna d'arco. Domingo even hits a
high C-sharp.
Dana John Hill
Gainesville, Florida
maready
May 22, 2013, 8:58:34 PM5/22/13
to
them doing Wolf lieder (on Finnadar LP only, no CD that I know of) and
I love it. Have neglected to track down the rest of their discography,
so I'll definitely check out the Schumann/Brahms --- and can I assume
their 'Winterreise' is at the same high level?
Alan Cooper
May 22, 2013, 10:35:43 PM5/22/13
to
maready <dab...@hotmail.com> wrote in news:bca727a6-9215-4954-84b7-
847ad7...@r3g2000yqe.googlegroups.com:
The Wolf Moerike Lieder were reissued on Finlandia CD 500282 c/w songs by
the Finnish composers Collan and Kuula. A great recital. Ditto the
gorgeous Brahms/Schumann disc. The Schubert (both Winterreise and
Schoene Muellerin) I find beautifully sung but emotionally distant. As
I've mentioned before, Gothoni is a great artist in his own right.
There are many other outstanding recorded performances by Hynninen. If I
were to single out just one, it would be Aulis Sallinen's opera, "The Red
Line." The opera is a 20th-century masterpiece and Hynninen's searing
performance in the lead role is beyond praise. He stars in both the
original 1979 recording (reissued on CD about a decade later) and in the
recent revival issued on Ondine DVD, and he is equally superb in both.
AC
847ad7...@r3g2000yqe.googlegroups.com:
the Finnish composers Collan and Kuula. A great recital. Ditto the
gorgeous Brahms/Schumann disc. The Schubert (both Winterreise and
Schoene Muellerin) I find beautifully sung but emotionally distant. As
I've mentioned before, Gothoni is a great artist in his own right.
There are many other outstanding recorded performances by Hynninen. If I
were to single out just one, it would be Aulis Sallinen's opera, "The Red
Line." The opera is a 20th-century masterpiece and Hynninen's searing
performance in the lead role is beyond praise. He stars in both the
original 1979 recording (reissued on CD about a decade later) and in the
recent revival issued on Ondine DVD, and he is equally superb in both.
AC
Oscar
May 23, 2013, 5:34:28 AM5/23/13
to
Verdi: Rigoletto, opera in three acts (libretto: Francesco Maria
Piave, based on the play Le roi s'amuse by Victor Hugo) - Chorus and
Orchestra of the Opera Nacional / Humberto Mugnai [Immortal
Performances IPCD 1021/2 ℗ 2012, Live air check of concert at the
Palacio de Bellas Artes, Mexico City, June 17, 1952, Re-creation and
restoration: Richard Caniell, IPRMS, British Columbia, Canada, Series
producer: Jonathan Wearn, Source: Immortal Performances Recorded Music
Society, a Non-Profit, Educational organization, British Columbia,
Equipment: This recording was mastered from original source material
using a 24-bit Prism A-D converter, with De-Clicking and De-Crackling
using Algorithmix Software, no other filtering, compression, limiting,
or any other digital intervention has been used on this recording
— this is the first release of an IPRMS initiative called The Callas
Legacy, focusing on 1949-1959 recordings — although the prompter is
still annoyingly loud in parts, this is still a wonderful document of
Callas as Gilda, and still the only live audio document of this rare
occasion — she only performed the role twice live, both in Mexico
City, and then recorded it for EMI in 1955 — the sole 're-creation'
changes made by the Producer are: 1) Callas's beginning Tutte le feste
with the second, rather than the first stanza, and 2) the complete
mess made of the Act III scene when Gilda returns to the Inn and
sacrifices herself — for these parts, I assume the EMI studio
recording has been 'flown in' and 'aged' appropriately, however, no
mention is made as regards specific recording used]
Piero Campolonghi :: Rigoletto
Maria Callas :: Gilda
Giuseppe di Stefano :: The Duke
Ignacio Ruffino :: Sparafucile
Maria Teresa Garcia :: Maddalena
Glberto Cerda :: Count Monterone
Francisco Alonso :: Count Ceprano
Edna Pattoni :: Countess Ceprano
Alberto Herrera :: Marullo
Anna Maria Feuss :: Giovanna
Carlos Sagarminaga :: Borsa
Piave, based on the play Le roi s'amuse by Victor Hugo) - Chorus and
Orchestra of the Opera Nacional / Humberto Mugnai [Immortal
Performances IPCD 1021/2 ℗ 2012, Live air check of concert at the
Palacio de Bellas Artes, Mexico City, June 17, 1952, Re-creation and
restoration: Richard Caniell, IPRMS, British Columbia, Canada, Series
producer: Jonathan Wearn, Source: Immortal Performances Recorded Music
Society, a Non-Profit, Educational organization, British Columbia,
Equipment: This recording was mastered from original source material
using a 24-bit Prism A-D converter, with De-Clicking and De-Crackling
using Algorithmix Software, no other filtering, compression, limiting,
or any other digital intervention has been used on this recording
— this is the first release of an IPRMS initiative called The Callas
Legacy, focusing on 1949-1959 recordings — although the prompter is
still annoyingly loud in parts, this is still a wonderful document of
Callas as Gilda, and still the only live audio document of this rare
occasion — she only performed the role twice live, both in Mexico
City, and then recorded it for EMI in 1955 — the sole 're-creation'
changes made by the Producer are: 1) Callas's beginning Tutte le feste
with the second, rather than the first stanza, and 2) the complete
mess made of the Act III scene when Gilda returns to the Inn and
sacrifices herself — for these parts, I assume the EMI studio
recording has been 'flown in' and 'aged' appropriately, however, no
mention is made as regards specific recording used]
Piero Campolonghi :: Rigoletto
Maria Callas :: Gilda
Giuseppe di Stefano :: The Duke
Ignacio Ruffino :: Sparafucile
Maria Teresa Garcia :: Maddalena
Glberto Cerda :: Count Monterone
Francisco Alonso :: Count Ceprano
Edna Pattoni :: Countess Ceprano
Alberto Herrera :: Marullo
Anna Maria Feuss :: Giovanna
Carlos Sagarminaga :: Borsa
Christopher Webber
May 23, 2013, 5:43:59 AM5/23/13
to
On 23/05/2013 03:35, Alan Cooper wrote:
> There are many other outstanding recorded performances by Hynninen. If I
> were to single out just one, it would be Aulis Sallinen's opera, "The Red
> Line." The opera is a 20th-century masterpiece and Hynninen's searing
> performance in the lead role is beyond praise. He stars in both the
> original 1979 recording (reissued on CD about a decade later) and in the
> recent revival issued on Ondine DVD, and he is equally superb in both.
Enthusiastically seconded in every respect. Savonlinna brought their
> There are many other outstanding recorded performances by Hynninen. If I
> were to single out just one, it would be Aulis Sallinen's opera, "The Red
> Line." The opera is a 20th-century masterpiece and Hynninen's searing
> performance in the lead role is beyond praise. He stars in both the
> original 1979 recording (reissued on CD about a decade later) and in the
> recent revival issued on Ondine DVD, and he is equally superb in both.
production to Sadler's Wells here in London, and it was one of the most
unforgettable operatic nights of my life.
In one respect he is even better in the DVD - he's grown into his
character's age, which helps him project the tragedy even more forcibly.
It's a must-see.
Christopher Webber
May 23, 2013, 5:53:26 AM5/23/13
to
W.H.Bell: Viola Concerto "Rosa Mystica"
Roger Chase
BBC Concert Orchestra
Stephen Bell
Dutton Epoch CD
I avoided this for years, having only heard the headline act (Bate's
Viola Concerto) which struck me - and still strikes me - as dull
imitation and flattery of RVW and Walton, lacking any shred of
individuality or musical interest and descending into rank plagiarism at
a couple of points.
A friend alerted me to the *real* jewel on this CD - the concerto by a
little-known contemporary of Holst and RVW who went off to head music in
South Africa and was soon forgotten here in his homeland. "Rosa Mystica"
(1917) is a beautiful, absorbing and emotionally complex concerto which
takes wing from mediaeval carols. There's something of Elgar, something
of Strauss and the occasional scent of Ireland, Holst and Bax - but Bell
has his own personality, strong and lyrical, and the work is beautifully
structured.
Every hearing reveals something new: I've tracked down one of Bell's
symphonies on an old Marco Polo CD, but apart from that can trace
nothing else by him out there. Anyone know any more?
Roger Chase
BBC Concert Orchestra
Stephen Bell
Dutton Epoch CD
I avoided this for years, having only heard the headline act (Bate's
Viola Concerto) which struck me - and still strikes me - as dull
imitation and flattery of RVW and Walton, lacking any shred of
individuality or musical interest and descending into rank plagiarism at
a couple of points.
A friend alerted me to the *real* jewel on this CD - the concerto by a
little-known contemporary of Holst and RVW who went off to head music in
South Africa and was soon forgotten here in his homeland. "Rosa Mystica"
(1917) is a beautiful, absorbing and emotionally complex concerto which
takes wing from mediaeval carols. There's something of Elgar, something
of Strauss and the occasional scent of Ireland, Holst and Bax - but Bell
has his own personality, strong and lyrical, and the work is beautifully
structured.
Every hearing reveals something new: I've tracked down one of Bell's
symphonies on an old Marco Polo CD, but apart from that can trace
nothing else by him out there. Anyone know any more?
wkasimer
May 23, 2013, 9:42:43 AM5/23/13
to
On May 22, 10:35 pm, Alan Cooper <amcoope...@SPAMoptonline.net> wrote:
> The Wolf Moerike Lieder were reissued on Finlandia CD 500282 c/w songs by
> the Finnish composers Collan and Kuula. A great recital. Ditto the
> gorgeous Brahms/Schumann disc. The Schubert (both Winterreise and
> Schoene Muellerin) I find beautifully sung but emotionally distant.
The Winterreise recording on CD is not the same as the one that
> The Wolf Moerike Lieder were reissued on Finlandia CD 500282 c/w songs by
> the Finnish composers Collan and Kuula. A great recital. Ditto the
> gorgeous Brahms/Schumann disc. The Schubert (both Winterreise and
> Schoene Muellerin) I find beautifully sung but emotionally distant.
Hynninen and Gothoni recorded for Fuga, which has never been issued on
CD. The earlier Fuga shows up with some frequency on eBay, at a
reasonable price, e.g....
http://www.ebay.com/itm/SCHUBERT-Winterreise-HYNNINEN-GOTHONI-2LP-FUGA-3014-15-FINLAND-1982-NM-/151033787809?pt=Music_on_Vinyl&hash=item232a50b5a1#ht_2531wt_1393
I prefer it to his later digital recording.
> There are many other outstanding recorded performances by Hynninen.
http://www.amazon.com/Sibelius-Orchestral-Songs-Jean/dp/B0000016B9
Bill
maready
May 23, 2013, 1:56:54 PM5/23/13
to
On May 22, 10:35 pm, Alan Cooper <amcoope...@SPAMoptonline.net> wrote:
> maready <dab...@hotmail.com> wrote in news:bca727a6-9215-4954-84b7-
> 847ad7ccd...@r3g2000yqe.googlegroups.com:
CD issue. Yes, Gothoni really captured my attention in the Wolf, whose
lieder requires a great piano player to be wholly successful. I will
have to pick up the remaining Odine CDs by this remarkable duo.
Adam Dubin
May 23, 2013, 2:11:01 PM5/23/13
to
Just now: CD6 from The Virtual Haydn: Complete Works for Solo Keyboard
(Naxos/Tom Beghin)
Also:
Various (many) discs from Bach: The Sacred Cantatas (Teldec/Harnoncourt
& Leonhardt et al.)
Gounod: Sym No.1; Petite Symphony/Bizet: L'Arlesienne (Decca/Hogwood &
St. Paul CO)
Dietrich Buxtehude and the Mean-Tone Organ, Vol. 1 (Loft
Recordings/Hans Davidsson)
Pergolesi: Stabat Mater and other works (Virgin/Gérard Lesne & Il
Seminario Musicale)
And many, many jazz 78s from the '20s & '30s from a recent haul at the
Bixfest in Racine, WI a couple of months ago...(you may listen to my
transfers, here:
http://www.mediafire.com/download/rbzddyk4nakxpdn/Racine_Mix_2013-Jazz_I.zip)
Adam
(Naxos/Tom Beghin)
Also:
Various (many) discs from Bach: The Sacred Cantatas (Teldec/Harnoncourt
& Leonhardt et al.)
Gounod: Sym No.1; Petite Symphony/Bizet: L'Arlesienne (Decca/Hogwood &
St. Paul CO)
Dietrich Buxtehude and the Mean-Tone Organ, Vol. 1 (Loft
Recordings/Hans Davidsson)
Pergolesi: Stabat Mater and other works (Virgin/Gérard Lesne & Il
Seminario Musicale)
And many, many jazz 78s from the '20s & '30s from a recent haul at the
Bixfest in Racine, WI a couple of months ago...(you may listen to my
transfers, here:
http://www.mediafire.com/download/rbzddyk4nakxpdn/Racine_Mix_2013-Jazz_I.zip)
Adam
Gerard
May 23, 2013, 3:17:20 PM5/23/13
to
Adam Dubin <amd...@comcast.net> typed:
>
> Gounod: Sym No.1; Petite Symphony/Bizet: L'Arlesienne (Decca/Hogwood &
> St. Paul CO)
>
That's a recording I have, but I don't remember anything about it.
Any opinion about the performances?
(Or are they just forgettable?)
>
> Gounod: Sym No.1; Petite Symphony/Bizet: L'Arlesienne (Decca/Hogwood &
> St. Paul CO)
>
Any opinion about the performances?
(Or are they just forgettable?)
Adam Dubin
May 23, 2013, 3:27:58 PM5/23/13
to
Bizet's). I admit I haven't listened as attentively as I might to the
rest. De Waart/Netherlands Wind Ensemble's old recording of the Petite
Sym. has been imprinted on my brain for decades, so it wouldn't be fair
to compare them. L'Arlesienne is performed in the original chamber
orchestration, with saxophone (!), and is quite lovely (only a
selection of movements).
Gerard
May 23, 2013, 3:50:58 PM5/23/13
to
Adam Dubin <amd...@comcast.net> typed:
Thanks. I'll listen to this again soon (I hope).
The recording by De Waart of the Petite symphonie is something I had on LP, and
that is something I remember: nice, charming music, very good performance.
The recording by De Waart of the Petite symphonie is something I had on LP, and
that is something I remember: nice, charming music, very good performance.
Oscar
May 29, 2013, 3:57:43 AM5/29/13
to
• Tchaikovsky: Concerto for Violin and Orchestra in D major, Op. 35
• Sérénade mélancolique in B-flat minor, for violin and orchestra, Op.
26 • Valse-Scherzo in C major, for violin and orchestra, Op. 34 -
Pierre Amoyal (van); Philharmonia Orchestra / Charles Dutoit [Erato
2292-45971 2 ℗ 1982 © 1993, Recorded in Brent Town Hall, Wembley,
England, April 1981, Recording supervision: Michel Garcin, Sound
engineer: Pierre Lavoix, Editing: Françoise Garcin, 'Digitally
mastered from an original analogical [sic] recording' — reissued for
the Tchaikovsky centenary of 1993 — this is one fantastic performance
of a well-worn warhorse (albeit with 'traditional' cuts): virtuosic
playing, natural affetuoso and warm, aristocratic lyricism, especially
in slow movement, bold accompaniment with plenty of rhythmic energy
where it counts, and a superb, realistic, and glowing late analog
recorded sound with ideal balances]
• Sérénade mélancolique in B-flat minor, for violin and orchestra, Op.
26 • Valse-Scherzo in C major, for violin and orchestra, Op. 34 -
Pierre Amoyal (van); Philharmonia Orchestra / Charles Dutoit [Erato
2292-45971 2 ℗ 1982 © 1993, Recorded in Brent Town Hall, Wembley,
England, April 1981, Recording supervision: Michel Garcin, Sound
engineer: Pierre Lavoix, Editing: Françoise Garcin, 'Digitally
mastered from an original analogical [sic] recording' — reissued for
the Tchaikovsky centenary of 1993 — this is one fantastic performance
of a well-worn warhorse (albeit with 'traditional' cuts): virtuosic
playing, natural affetuoso and warm, aristocratic lyricism, especially
in slow movement, bold accompaniment with plenty of rhythmic energy
where it counts, and a superb, realistic, and glowing late analog
recorded sound with ideal balances]
Alan Cooper
May 29, 2013, 7:46:25 AM5/29/13
to
Oscar <oscaredwar...@gmail.com> wrote in
news:ae17ef81-601f-4e8b...@a9g2000pbq.googlegroups.com:
Amoyal is one of the great "unknowns" (well, at least he's not nearly as
well known as he should be). Give Amoyal's great performance of the
Dutilleux Violin Concerto a spin in memory of the composer:
http://www.amazon.com//dp/B000025HUZ. And if you ever come upon the
Erato LP of the Mendelssohn Piano Trios performed by Queffelec, Amoyal,
and Lodeon, do not hesitate!
AC
news:ae17ef81-601f-4e8b...@a9g2000pbq.googlegroups.com:
well known as he should be). Give Amoyal's great performance of the
Dutilleux Violin Concerto a spin in memory of the composer:
http://www.amazon.com//dp/B000025HUZ. And if you ever come upon the
Erato LP of the Mendelssohn Piano Trios performed by Queffelec, Amoyal,
and Lodeon, do not hesitate!
AC
Matthew B. Tepper
May 30, 2013, 12:50:23 AM5/30/13
to
Today, the obvious work, in several recordings:
Stravinsky 1929
Stravinsky 1960
Stravinsky 1940
Monteux/LSO 1963 (live)
Boulez 1969
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers.
Stravinsky 1929
Stravinsky 1960
Stravinsky 1940
Monteux/LSO 1963 (live)
Boulez 1969
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers.
Oscar
May 30, 2013, 3:04:10 AM5/30/13
to
On May 29, 9:50 pm, Matthew B. Tepper wrote:
>
> Stravinsky 1929
> Stravinsky 1960
> Stravinsky 1940
> Monteux/LSO 1963 (live)
> Boulez 1969
I played Haitink 1974 and heard most of Gergiev 2001 on Jim Svejda's
>
> Stravinsky 1929
> Stravinsky 1960
> Stravinsky 1940
> Monteux/LSO 1963 (live)
> Boulez 1969
radio program.
Oscar
May 30, 2013, 3:36:46 AM5/30/13
to
On May 29, 4:46 am, Alan Cooper wrote:
>
> Amoyal is one of the great "unknowns" (well, at least he's not nearly as
> well known as he should be). Give Amoyal's great performance of the
> Dutilleux Violin Concerto a spin in memory of the composer:
> http://www.amazon.com//dp/B000025HUZ. And if you ever come upon the
> Erato LP of the Mendelssohn Piano Trios performed by Queffelec, Amoyal,
> and Lodeon, do not hesitate!
Thanks for the comments, Alan. I'd like to hear his Sibelius now. The
>
> Amoyal is one of the great "unknowns" (well, at least he's not nearly as
> well known as he should be). Give Amoyal's great performance of the
> Dutilleux Violin Concerto a spin in memory of the composer:
> http://www.amazon.com//dp/B000025HUZ. And if you ever come upon the
> Erato LP of the Mendelssohn Piano Trios performed by Queffelec, Amoyal,
> and Lodeon, do not hesitate!
Tchaikovsky was pretty surprising (found it in the dollar bin).
Oscar
May 30, 2013, 3:53:36 AM5/30/13
to
• Prokofiev: Symphony No. 6 in E-flat minor, Op. 111 • Lyadov: Baba
Yaga, Op. 56 • Scriabin: Le Poème de l'extase, Op. 54 - Leningrad
Philharmonic Orchestra / Evgeni Mravinsky [Russian Disc RD CD 10 900 ℗
1994, Recorded in mono in the Great Hall of the Moscow Conservatory,
April 21, 1959, Released in cooperation with the Evgeni Mravinsky
Society, St. Petersburg, Russia, Booklet notes: Mark Pakman — have not
heard Mravinsky's Sixth with same forces from May 26, 1967, recorded
in the Rudolfinum in Prague http://tiny.cc/wrzvxw (OOP) during a time
of high political tension, it is supposed to be 'legendary' (and in
true stereo) — how does this earlier, fairly primitive-sounding one
stack up against it?]
Yaga, Op. 56 • Scriabin: Le Poème de l'extase, Op. 54 - Leningrad
Philharmonic Orchestra / Evgeni Mravinsky [Russian Disc RD CD 10 900 ℗
1994, Recorded in mono in the Great Hall of the Moscow Conservatory,
April 21, 1959, Released in cooperation with the Evgeni Mravinsky
Society, St. Petersburg, Russia, Booklet notes: Mark Pakman — have not
heard Mravinsky's Sixth with same forces from May 26, 1967, recorded
in the Rudolfinum in Prague http://tiny.cc/wrzvxw (OOP) during a time
of high political tension, it is supposed to be 'legendary' (and in
true stereo) — how does this earlier, fairly primitive-sounding one
stack up against it?]
Bob Harper
May 30, 2013, 8:29:48 PM5/30/13
to
Bob Harper
Oscar
May 31, 2013, 2:41:25 AM5/31/13
to
• Chausson: Concert in D major, for violin, piano, and string quartet,
Op. 21 (1891) - Josef Suk (vln); Josef Hála (fp); Suk Quartet
[Supraphon 1111 3595 LP ℗ © 1985, Recorded at the Supraphon studio at
the House of Artists, Prague, from January 2 to 12, 1985 (ten days for
a single chamber work?!), Recording director: Jaroslav Rybář,
Recording engineer: Václav Roubal, Sleeve note: Jaroslav Holeček
— properly a Concert and not a 'concerto', even if that's what the art
director designated for the sleeve, Concert akin to the English
'consort', this is an idiomatic performance, even if the sound is not
as lush as should be — being a big fan of the Ravel Trio, I think this
too is a great work, more sumptuous in the part-writing, à la Franck,
yet no less lyrical or intense — D'Indy found in it a 'noble
sincerity ... haunted by a foreboding' of the composer's early death —
anyone heard the 1984 Perlman/Bolet/Juilliard SQ on CBS/Sony?]
Op. 21 (1891) - Josef Suk (vln); Josef Hála (fp); Suk Quartet
[Supraphon 1111 3595 LP ℗ © 1985, Recorded at the Supraphon studio at
the House of Artists, Prague, from January 2 to 12, 1985 (ten days for
a single chamber work?!), Recording director: Jaroslav Rybář,
Recording engineer: Václav Roubal, Sleeve note: Jaroslav Holeček
— properly a Concert and not a 'concerto', even if that's what the art
director designated for the sleeve, Concert akin to the English
'consort', this is an idiomatic performance, even if the sound is not
as lush as should be — being a big fan of the Ravel Trio, I think this
too is a great work, more sumptuous in the part-writing, à la Franck,
yet no less lyrical or intense — D'Indy found in it a 'noble
sincerity ... haunted by a foreboding' of the composer's early death —
anyone heard the 1984 Perlman/Bolet/Juilliard SQ on CBS/Sony?]
Alan Cooper
May 31, 2013, 9:07:19 AM5/31/13
to
Oscar <oscaredwar...@gmail.com> wrote in
news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
Yes. It's OK, but there are several better recordings imo. For a
summary including a contrary opinion, see
http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
Wiser recently recommended some recordings that also happen to be
favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
and is well worth seeking out on MHS LP. You also want to pick up this
issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
AC
news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
summary including a contrary opinion, see
http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
Wiser recently recommended some recordings that also happen to be
favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
and is well worth seeking out on MHS LP. You also want to pick up this
issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
AC
John Wiser
May 31, 2013, 1:29:28 PM5/31/13
to
"Alan Cooper" <amcoo...@SPAMoptonline.net> wrote in message
news:XnsA1D15CD1AC515am...@209.197.15.254...
>> quartet, Op. 21 (1891) - Josef Suk (vln); Josef HĆla (fp); Suk
>> Quartet [Supraphon 1111 3595 LP ā"- Ā© 1985, Recorded at the Supraphon
>> HoleĨek ā?"Ā properly a Concert and not a 'concerto', even if that's
>> think this too is a great work, more sumptuous in the part-writing, Ć
>> la Franck, yet no less lyrical or intense ā?"Ā D'Indy found in it a
was on an MHS CD for about five minutes
jdw
news:XnsA1D15CD1AC515am...@209.197.15.254...
> Oscar <oscaredwar...@gmail.com> wrote in
> news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
>
>> ā?¢Ā Chausson: Concert in D major, for violin, piano, and string
> news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
>
>> quartet, Op. 21 (1891) - Josef Suk (vln); Josef HĆla (fp); Suk
>> Quartet [Supraphon 1111 3595 LP ā"- Ā© 1985, Recorded at the Supraphon
>> studio at the House of Artists, Prague, from January 2 to 12, 1985
>> (ten days for a single chamber work?!), Recording director: Jaroslav
>> RybĆÅT, Recording engineer: VĆclav Roubal, Sleeve note: Jaroslav
>> (ten days for a single chamber work?!), Recording director: Jaroslav
>> HoleĨek ā?"Ā properly a Concert and not a 'concerto', even if that's
>> what the art director designated for the sleeve, Concert akin to the
>> English 'consort', this is an idiomatic performance, even if the sound
>> is not as lush as should be ā?"Ā being a big fan of the Ravel Trio, I
>> English 'consort', this is an idiomatic performance, even if the sound
>> think this too is a great work, more sumptuous in the part-writing, Ć
>> la Franck, yet no less lyrical or intense ā?"Ā D'Indy found in it a
>> 'noble sincerity ... haunted by a foreboding' of the composer's early
>> death ā?" anyone heard the 1984 Perlman/Bolet/Juilliard SQ on
>> CBS/Sony?]
>
> Yes. It's OK, but there are several better recordings imo. For a
> summary including a contrary opinion, see
> http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
> Wiser recently recommended some recordings that also happen to be
> favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
> Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
> Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
> and is well worth seeking out on MHS LP. You also want to pick up this
> issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
>
I.Oistrakh/Zertsalova/Shostakovich SQ
>
> Yes. It's OK, but there are several better recordings imo. For a
> summary including a contrary opinion, see
> http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
> Wiser recently recommended some recordings that also happen to be
> favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
> Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
> Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
> and is well worth seeking out on MHS LP. You also want to pick up this
> issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
>
was on an MHS CD for about five minutes
jdw
Dana John Hill
May 31, 2013, 2:25:40 PM5/31/13
to
On 5/31/2013 2:41 AM, Oscar wrote:
> • Chausson: Concert in D major, for violin, piano, and string quartet,
Outstanding! One of my favorite pieces of music. I'd be happy to add
more recordings of it to my collection.
> • Chausson: Concert in D major, for violin, piano, and string quartet,
more recordings of it to my collection.
Frank Berger
May 31, 2013, 2:42:59 PM5/31/13
to
On 5/31/2013 1:29 PM, John Wiser wrote:
> "Alan Cooper" <amcoo...@SPAMoptonline.net> wrote in message
> news:XnsA1D15CD1AC515am...@209.197.15.254...
>> Oscar <oscaredwar...@gmail.com> wrote in
>> news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
>>
>>> � Chausson: Concert in D major, for violin, piano, and string
> "Alan Cooper" <amcoo...@SPAMoptonline.net> wrote in message
> news:XnsA1D15CD1AC515am...@209.197.15.254...
>> Oscar <oscaredwar...@gmail.com> wrote in
>> news:428fba16-6d53-4cc7...@qz2g2000pbb.googlegroups.com:
>>
>>> quartet, Op. 21 (1891) - Josef Suk (vln); Josef Hála (fp); Suk
>>> Quartet [Supraphon 1111 3595 LP â"- © 1985, Recorded at the Supraphon
>>> studio at the House of Artists, Prague, from January 2 to 12, 1985
>>> (ten days for a single chamber work?!), Recording director: Jaroslav
>>> RybáÅT, Recording engineer: Václav Roubal, Sleeve note: Jaroslav
>>> (ten days for a single chamber work?!), Recording director: Jaroslav
>>> HoleÄ ek â?"Â properly a Concert and not a 'concerto', even if that's
>>> what the art director designated for the sleeve, Concert akin to the
>>> English 'consort', this is an idiomatic performance, even if the sound
>>> is not as lush as should be â?"Â being a big fan of the Ravel Trio, I
>>> English 'consort', this is an idiomatic performance, even if the sound
>>> think this too is a great work, more sumptuous in the part-writing, Ã
>>> la Franck, yet no less lyrical or intense â?"Â D'Indy found in it a
>>> 'noble sincerity ... haunted by a foreboding' of the composer's early
>>> death â?" anyone heard the 1984 Perlman/Bolet/Juilliard SQ on
>>> CBS/Sony?]
>>
>> Yes. It's OK, but there are several better recordings imo. For a
>> summary including a contrary opinion, see
>> http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
>> Wiser recently recommended some recordings that also happen to be
>> favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
>> Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
>> Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
>> and is well worth seeking out on MHS LP. You also want to pick up this
>> issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
>>
> I.Oistrakh/Zertsalova/Shostakovich SQ
> was on an MHS CD for about five minutes
>
> jdw
The cited review (from 2005) mentions the MHS recording. They also wish
>>
>> Yes. It's OK, but there are several better recordings imo. For a
>> summary including a contrary opinion, see
>> http://www.classicalmusicguide.com/viewtopic.php?f=8&t=14717. John
>> Wiser recently recommended some recordings that also happen to be
>> favorites of mine: Francescatti/Casadesus/Guilet (goes without saying);
>> Ferras/Barbizet/Parrenin; Pasquiers et al.; and Igor
>> Oistrakh/Zertsalova/Shostakovich SQ. The last-named is a real sleeper
>> and is well worth seeking out on MHS LP. You also want to pick up this
>> issue for lots of reasons: http://www.amazon.com/B000OCZC5M.
>>
> I.Oistrakh/Zertsalova/Shostakovich SQ
> was on an MHS CD for about five minutes
>
> jdw
for Bridge (not sure why he specified Bridge) to release the Kaufman,
Balsam, Pascal SQ version, which they did a couple of years later.
Alan Cooper
May 31, 2013, 2:46:42 PM5/31/13
to
"John Wiser" <jic...@frontiernet.net> wrote in
news:Z55qt.5709$OA5....@newsfe12.iad:
Ah yes: MHS 512095A. Selling your copy, John? :-)
Alan
news:Z55qt.5709$OA5....@newsfe12.iad:
Alan
Dana John Hill
May 31, 2013, 3:31:28 PM5/31/13
to
My copy of the big Karajan 1960s box just arrived from Australia (Amazon
was unable to get it, and DG has not yet told me if it is officially
out-of-print).
It also means I can begin selling off my earlier CD issues of these
recordings. I know I've quite a few of these 1960s recordings (though
maybe not as many as I do the 1970s stuff): the first CD issue of the
Beethoven symphonies and the Galleria issue of the overtures; the
Galleria Haydn Creation; the first CD issue of the Handel Concerti
grossi, Op. 6 (no shame); the Mussorgsky/Debussy/Ravel disc in the
Originals series; some Brahms; the Brandenburg Concertos; and much, much
more. These won't be worth much money, of course, but their absence will
free up some shelf space.
As has probably been discussed here before, this set is substantial. The
box is handsome enough. I got the international release in which the box
lid is dark gray and the bottom is yellow, and, unfortunately, it's just
barely tall enough to not fit on my custom-made CD shelves, which I
built to accommodate the largest box set in my collection at the time,
the Solti Ring. I like the LP-style sleeves, even if I cannot feel the
same nostalgic appreciation their verisimilitude evokes in those who
owned the original LP records. I'll have to buy a magnifying glass. At
first glance the book looks decent, but I wonder why they couldn't go to
the trouble of including texts and translations for the handful of vocal
works in the set. (I haven't checked every page, so maybe I'm
complaining prematurely.) Also, given that they reproduced the Beethoven
overtures set as a gate-fold sleeve, why didn't they do something
similar for the Missa solemnis and The Creation? Instead, those come in
separate sleeves, with no apparent notes included (again, I probably
ought to check to see if there's a little insert within the sleeve
before I complain).
I haven't had a chance to compare the sound to earlier issues I already
have, but I assume there's no decline in sonic quality. Honestly, the
$200 or so I paid for this is a bargain when one considers what DG might
have charged even a few years ago. When Karajan 1970s comes out in its
international edition (I know the Korean one is already out there), I'll
get it sooner rather than later so I don't have to do so much searching.
was unable to get it, and DG has not yet told me if it is officially
out-of-print).
It also means I can begin selling off my earlier CD issues of these
recordings. I know I've quite a few of these 1960s recordings (though
maybe not as many as I do the 1970s stuff): the first CD issue of the
Beethoven symphonies and the Galleria issue of the overtures; the
Galleria Haydn Creation; the first CD issue of the Handel Concerti
grossi, Op. 6 (no shame); the Mussorgsky/Debussy/Ravel disc in the
Originals series; some Brahms; the Brandenburg Concertos; and much, much
more. These won't be worth much money, of course, but their absence will
free up some shelf space.
As has probably been discussed here before, this set is substantial. The
box is handsome enough. I got the international release in which the box
lid is dark gray and the bottom is yellow, and, unfortunately, it's just
barely tall enough to not fit on my custom-made CD shelves, which I
built to accommodate the largest box set in my collection at the time,
the Solti Ring. I like the LP-style sleeves, even if I cannot feel the
same nostalgic appreciation their verisimilitude evokes in those who
owned the original LP records. I'll have to buy a magnifying glass. At
first glance the book looks decent, but I wonder why they couldn't go to
the trouble of including texts and translations for the handful of vocal
works in the set. (I haven't checked every page, so maybe I'm
complaining prematurely.) Also, given that they reproduced the Beethoven
overtures set as a gate-fold sleeve, why didn't they do something
similar for the Missa solemnis and The Creation? Instead, those come in
separate sleeves, with no apparent notes included (again, I probably
ought to check to see if there's a little insert within the sleeve
before I complain).
I haven't had a chance to compare the sound to earlier issues I already
have, but I assume there's no decline in sonic quality. Honestly, the
$200 or so I paid for this is a bargain when one considers what DG might
have charged even a few years ago. When Karajan 1970s comes out in its
international edition (I know the Korean one is already out there), I'll
get it sooner rather than later so I don't have to do so much searching.
Steve de Mena
Jun 1, 2013, 5:28:09 AM6/1/13
to
On 5/31/13 12:31 PM, Dana John Hill wrote:
> It also means I can begin selling off my earlier CD issues of these
> recordings. I know I've quite a few of these 1960s recordings (though
> maybe not as many as I do the 1970s stuff): the first CD issue of the
> Beethoven symphonies and the Galleria issue of the overtures; the
> Galleria Haydn Creation; the first CD issue of the Handel Concerti
> grossi, Op. 6 (no shame); the Mussorgsky/Debussy/Ravel disc in the
> Originals series; some Brahms; the Brandenburg Concertos; and much,
> much more. These won't be worth much money, of course, but their
> absence will free up some shelf space.
>
The Handel Op.6 should be worth a good amount of money. That was
> It also means I can begin selling off my earlier CD issues of these
> recordings. I know I've quite a few of these 1960s recordings (though
> maybe not as many as I do the 1970s stuff): the first CD issue of the
> Beethoven symphonies and the Galleria issue of the overtures; the
> Galleria Haydn Creation; the first CD issue of the Handel Concerti
> grossi, Op. 6 (no shame); the Mussorgsky/Debussy/Ravel disc in the
> Originals series; some Brahms; the Brandenburg Concertos; and much,
> much more. These won't be worth much money, of course, but their
> absence will free up some shelf space.
>
always very hard to find. "Used - Very Good" copies start at $55 on
Amazon, with no one selling a copy in better condition.
http://amzn.to/11JV9G4
Also, if you have any of the 1960s CDs in their "Master Recordings"
incarnation ( http://amzn.to/19vJ1ug ) compare the sound to your new
box set, as I feel that the "Master Recordings" remasterings truly
made a noticeable difference (positive) to the sound. (There were just
10 in this series, and I have never heard the Beethoven Violin
Concerto with Mutter in this set). I hope they used those masters in
this box set.
> Also, given
> that they reproduced the Beethoven overtures set as a gate-fold
> sleeve, why didn't they do something similar for the Missa solemnis
> and The Creation?
gate-fold sleeve. I believe the others were released in boxes.
Enjoy!
Steve
Dana John Hill
Jun 1, 2013, 12:41:34 PM6/1/13
to
On 6/1/2013 5:28 AM, Steve de Mena wrote:
>
> The Handel Op.6 should be worth a good amount of money. That was always
> very hard to find. "Used - Very Good" copies start at $55 on Amazon,
> with no one selling a copy in better condition.
>
> http://amzn.to/11JV9G4
>
That's good news. My copy is pristine.
>
> The Handel Op.6 should be worth a good amount of money. That was always
> very hard to find. "Used - Very Good" copies start at $55 on Amazon,
> with no one selling a copy in better condition.
>
> http://amzn.to/11JV9G4
>
When Karajan 1970s comes out, I'll have many more of the first edition
CDs to sell off. But I see that DG stuff isn't going now for the same
absurd prices on eBay it was a few years back. The Karajan Mahler
recordings (Nos. 4, 5, and 6 with the rainbow-themed artwork), and the
Bruckner recordings (with the wings), were selling for pretty high
prices. Those have all come way down. Its early Philips CDs that eBay
folk are paying the big money for these days.
> Also, if you have any of the 1960s CDs in their "Master Recordings"
> incarnation ( http://amzn.to/19vJ1ug ) compare the sound to your new box
> set, as I feel that the "Master Recordings" remasterings truly made a
> noticeable difference (positive) to the sound. (There were just 10 in
> this series, and I have never heard the Beethoven Violin Concerto with
> Mutter in this set). I hope they used those masters in this box set.
>
but I seem to recall back when DG issued their big "Beethoven Edition"
on CD (in the late '90s?), there was talk that they had used a different
remaster of the symphonies than the first CD issue of those works. I
have that fist CD issue, and expect I can do away with it now that I
have this big Karajan box. But can I assume, then, that DG has
remastered this now four times: the first CD issue; the Beethoven
Edition; SACD; Karajan 1960s?
>
> Because the Beethoven Overtures were originally released on LP in a
> gate-fold sleeve. I believe the others were released in boxes.
>
little two-disc cap box to go inside the great big box, but it sounds
like that would have better represented the original appearance than two
paper sleeves with identical covers and essentially blank backs. While
all the other sleeves mimic the LPs and reproduce their notes (albeit in
tiny print), the Missa solemnis and the Haydn Creation have no notes at
all. Obviously, though, I am being silly. It's not that big a deal. And
I have other recordings of both these works if I need translations.
Steve de Mena
Jun 4, 2013, 4:09:22 AM6/4/13
to
compared these to the rebook layer of the SACDs or the Beethoven
Edition OIBP. I would say the 60s box uses one of these existing masters.
>
>>
>> Because the Beethoven Overtures were originally released on LP in a
>> gate-fold sleeve. I believe the others were released in boxes.
>>
>
> I wondered about that. Verily, it would be pretty ridiculous to make a
> little two-disc cap box to go inside the great big box, but it sounds
> like that would have better represented the original appearance than
> two paper sleeves with identical covers and essentially blank backs.
> While all the other sleeves mimic the LPs and reproduce their notes
> (albeit in tiny print), the Missa solemnis and the Haydn Creation have
> no notes at all. Obviously, though, I am being silly. It's not that
> big a deal. And I have other recordings of both these works if I need
> translations.
>
> Dana John Hill
> Gainesville, Florida
>
arrt...@gmail.com
Feb 2, 2014, 7:40:29 AM2/2/14
to
On Thursday, May 2, 2013 1:58:21 AM UTC+2, Oscar wrote:
> • Ockeghem: Requiem - Ensemble Organum / Marcel Pérès [Harmonia Mundi
>
> 901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
>
> November 1992, Artistic direction & Sound engineer: Pere Casulleras,
>
> booklet notes: George Houle — an Harmonia Mundi classic!]
>
>
>
> From Amazon reviewer 'Steven Guy' http://tiny.cc/4gjfww
>
>
>
> << The work is performed at a considerably lower pitch than most of
>
> current recordings available, I am guessing that the work is performed
>
> around a fourth or fifth lower than the written pitch of the work.
>
> Obviously, pitch is a relative thing and a work such as this, which
>
> would have been performed by male voices, should be performed in a
>
> comfortable range for the choristers. Pro Cantione Antiqua also
>
> performed the work with entirely male voices, but theirs was much
>
> closer to the written pitch and this ensemble used countertenors on
>
> the cantus and altus lines. Ensemble Organum only use tenors,
>
> baritones and basses and their recording plunges the work down into a
>
> very deep region of the human voice. >>
>
>
>
> From booklet notes by George Houle:
>
>
>
> << Johannes Ockeghem was born ca. 1420, and he died on February 6,
>
> 1497. Guillaume Crétin's déploration commented on his beautiful voice,
>
> exceptional compositions, and his kindness, generosity, honesty, and
>
> piety. Francesco Florio described him in 1477 as 'so handsome in
>
> appearance, so grave and gracious in manner and speech.'
>
>
>
> Ockeghem was among the officers of the [French] royal household for
>
> whom black robes and hoods were made to be worn in mourning for the
>
> death of Charles VII in July of 1461. Ockeghem's Requiem was probably
>
> composed for this funeral; it may have also been performed at the
>
> funeral of Louis XI in 1483.
>
>
>
> Polyphony replaced plainchant only on exceptional occasions and was
>
> the province of musical specialists such as premier chapelain Ockeghem
>
> and his choristers. Except for Dufay's Requiem (now lost), Ockeghem's
>
> is the first polyphonic setting of the Mass for the Dead.
>
>
>
> ...In the culminating sections of his Requiem, Ockeghem's style
>
> becomes clearly that of his maturity, familiar to those acquainted
>
> with his late Masses such as the Missa cuiusvis toni and Missa mi mi.
>
> The full resonance of the four independent voices, often without
>
> imitative connections between them, the supple melodic lines given to
>
> each voice, and the long-breathed phrases that have few strong
>
> cadential stopping points display Ockeghem's most characteristic
>
> musical flow. Few other Renaissance composers could evoke the long-
>
> unfolding, rich, constantly new succession of subtle musical ideas
>
> that always mirror the meaning of the text yet never make obvious
>
> interpretations. >>
>
>
>
> Amen.
Hi Does anyone have a contact to Pere Casullerus?
Thanks arthu...@inf.ethz.ch
> • Ockeghem: Requiem - Ensemble Organum / Marcel Pérès [Harmonia Mundi
>
> 901441 ℗ 1993, Recorded in the large refectory of Fontevraud Abbey,
>
> November 1992, Artistic direction & Sound engineer: Pere Casulleras,
>
> booklet notes: George Houle — an Harmonia Mundi classic!]
>
>
>
> From Amazon reviewer 'Steven Guy' http://tiny.cc/4gjfww
>
>
>
> << The work is performed at a considerably lower pitch than most of
>
> current recordings available, I am guessing that the work is performed
>
> around a fourth or fifth lower than the written pitch of the work.
>
> Obviously, pitch is a relative thing and a work such as this, which
>
> would have been performed by male voices, should be performed in a
>
> comfortable range for the choristers. Pro Cantione Antiqua also
>
> performed the work with entirely male voices, but theirs was much
>
> closer to the written pitch and this ensemble used countertenors on
>
> the cantus and altus lines. Ensemble Organum only use tenors,
>
> baritones and basses and their recording plunges the work down into a
>
> very deep region of the human voice. >>
>
>
>
> From booklet notes by George Houle:
>
>
>
> << Johannes Ockeghem was born ca. 1420, and he died on February 6,
>
> 1497. Guillaume Crétin's déploration commented on his beautiful voice,
>
> exceptional compositions, and his kindness, generosity, honesty, and
>
> piety. Francesco Florio described him in 1477 as 'so handsome in
>
> appearance, so grave and gracious in manner and speech.'
>
>
>
> Ockeghem was among the officers of the [French] royal household for
>
> whom black robes and hoods were made to be worn in mourning for the
>
> death of Charles VII in July of 1461. Ockeghem's Requiem was probably
>
> composed for this funeral; it may have also been performed at the
>
> funeral of Louis XI in 1483.
>
>
>
> Polyphony replaced plainchant only on exceptional occasions and was
>
> the province of musical specialists such as premier chapelain Ockeghem
>
> and his choristers. Except for Dufay's Requiem (now lost), Ockeghem's
>
> is the first polyphonic setting of the Mass for the Dead.
>
>
>
> ...In the culminating sections of his Requiem, Ockeghem's style
>
> becomes clearly that of his maturity, familiar to those acquainted
>
> with his late Masses such as the Missa cuiusvis toni and Missa mi mi.
>
> The full resonance of the four independent voices, often without
>
> imitative connections between them, the supple melodic lines given to
>
> each voice, and the long-breathed phrases that have few strong
>
> cadential stopping points display Ockeghem's most characteristic
>
> musical flow. Few other Renaissance composers could evoke the long-
>
> unfolding, rich, constantly new succession of subtle musical ideas
>
> that always mirror the meaning of the text yet never make obvious
>
> interpretations. >>
>
>
>
> Amen.
Hi Does anyone have a contact to Pere Casullerus?
Thanks arthu...@inf.ethz.ch
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