Dr Morbius
Member
- Joined
- Jun 14, 2016
- Messages
- 62
Yes that's a Columbia Masterworks recording - Excellent!
Classical Music Only | What You're Listening to Now, Or Very Recently | Any Mediums :
- Thread starter NorthStar
- Start date
Franz Schubert - The Complete Symphonies Vol. 2: Symphony 1,3 & 8
Residentie Orkest Den Haag, Jan Willem de Vriend
Qobuz 24/44.1
We visited the recording engineer Bert van der Wolf in his studio last Wednesday (review next week).
This album has a very clear sound, as we're used to hear in his recordings.
I like the interpretation too.
Residentie Orkest Den Haag, Jan Willem de Vriend
Qobuz 24/44.1
We visited the recording engineer Bert van der Wolf in his studio last Wednesday (review next week).
This album has a very clear sound, as we're used to hear in his recordings.
I like the interpretation too.
Very enjoyable album. We are very fortunate that the Bay Area is gaining Richard Egarr next year as the new music director for the Philharmonia Baroque, replacing the retiring Nicolar McGegan. We've seen Egarr guest conduct the Philharmonic Baroque locally in Berkeley as well as conducting the Academy of Ancient Music in London. Besides being a fine music director, he is a fine harpsichordist and a very funny and entertaining person.
Larry
Mieczysław Weinberg - Symphonies 2 & 21
City of Birmingham Symphony Orchestra
Kremerata Baltica
Mirga Gražinytė-Tyla, conductor & soprano
Gidon Kremer, solo violin
Qobuz 24/96
I'm a Weinberg fan.
His (Chamber) Symphonies, String Quartets, Violin Concerto, etc. are brilliant works.
This is an album that brings us an early and a late symphony.
Great performances and sound.
City of Birmingham Symphony Orchestra
Kremerata Baltica
Mirga Gražinytė-Tyla, conductor & soprano
Gidon Kremer, solo violin
Qobuz 24/96
I'm a Weinberg fan.
His (Chamber) Symphonies, String Quartets, Violin Concerto, etc. are brilliant works.
This is an album that brings us an early and a late symphony.
Great performances and sound.
Offenbach - Colorature
Jodie Devos, soprano
Münchner Rundfunkorchester, Laurent Campellone
Qobuz 24/96
Belgian soprano Devos scored well in the Queen Elisabeth Competition for Voice a couple of years ago.
I didn't expect much of this album, but was curious.
In fact, these are quite enjoyable pieces and Jodie Devos shines.
The elegant Jodie Devos puts her talents to work in service of a fairly unknown known side of Offenbach, taking on several somewhat-forgotten pieces which call for very specific voices, known in Offenbach’s day by names such as "chanteuse d’agilité", "chanteuse à roulade" or "première chanteuse légère". Of course, everyone knows the tune of the doll Olympia from Tales of Hoffmann, or the telling of the death of Eurydice in Orpheus in the Underworld, but the substantial repertoire of the composer's smaller pieces (which he generally referred to as "operettas" to distinguish them from his larger works, his famous opéras bouffe) contains a number of virtuoso arias for coloratura soprano. In them, we hear the vocal imitation of the jeu perlé piano technique or of Paganini's "flying staccato", in which unstinting bravura hides the real difficulty behind something apparently easy. But the difference from many bel canto composers, who merely show off vocals and melody, is that Offenbach knows how to charge these things with emotion, with textual significance, with personality, and with contrasts: simple mechanics never take precedence over diversity. This record allows us to discover a neat little collection of sadly little-known works which are well overdue a return to the French stage. © SM/Qobuz
Listening again, after the splendid review it got in 'Stereo' (very decent German magazine) this month.
The music is not entirely to my taste, but Jodie Devos is truly fantastic, and the recording is excellent.
Jozua
New member
Gents
I love these valuable leads- much appreciated.
Any chance you can include the Disk Number to make it easier to find the disk from vendors?
Jozua
I love these valuable leads- much appreciated.
Any chance you can include the Disk Number to make it easier to find the disk from vendors?
Jozua
Hi Jozua,
I do have some 3000 silver discs, but lately I mostly stream new albums.
They are offered in hi-res by services like Qobuz, and Tidal, if you call MQA hi-res.
If you put the title of the album, together with the ensemble/orchestra and/or main performer in the search engine of vendors like Amazon, Presto Classical or ArkivMusic, you will easily find the disk.
Good luck and welcome to the classical thread!
Domenico Scarlatti - Mandolin Sonatas
Pizzicar Galante
Qobuz 24/96
Interesting and relaxing album.
Ideal for late night listening.
Scarlatti and the mandolin: this recording provides a fascinating and unusual encounter between one of the most important composers of the baroque period and an instrument that originated in Naples and enjoyed great popularity throughout Europe, especially in Paris and in other European capitals during the 18th century. The Pizzicar Galante ensemble, founded in Paris in 2012 by mandolinist Anna Schivazappa and harpsichordist Fabio Antonio Falcone, reveals hidden aspects of these musical gems from the Italian Baroque. Drawing inspiration from a mysterious 18th-century French manuscript containing the first movement of Scarlatti’s Sonata K 89, preceded by the indication ‘Sonatina per mandolino e cimbalo’, the musicians deliver a fresh and original interpretation of these works. The music is full of contrasts, rich in virtuoso passages, surprises and effects but also full of sweetness and humour, combined with a certain meditative melancholy. Specialized in the Italian repertoire for mandolin and basso continuo, Pizzicar Galante gives voice to different instrumental timbres. Among these, the charming, crystal-clear sound of an original 18th-century Neapolitan mandolin: an absolute rarity that makes this recording truly unique. © Arcana
Pizzicar Galante
Qobuz 24/96
Interesting and relaxing album.
Ideal for late night listening.
Scarlatti and the mandolin: this recording provides a fascinating and unusual encounter between one of the most important composers of the baroque period and an instrument that originated in Naples and enjoyed great popularity throughout Europe, especially in Paris and in other European capitals during the 18th century. The Pizzicar Galante ensemble, founded in Paris in 2012 by mandolinist Anna Schivazappa and harpsichordist Fabio Antonio Falcone, reveals hidden aspects of these musical gems from the Italian Baroque. Drawing inspiration from a mysterious 18th-century French manuscript containing the first movement of Scarlatti’s Sonata K 89, preceded by the indication ‘Sonatina per mandolino e cimbalo’, the musicians deliver a fresh and original interpretation of these works. The music is full of contrasts, rich in virtuoso passages, surprises and effects but also full of sweetness and humour, combined with a certain meditative melancholy. Specialized in the Italian repertoire for mandolin and basso continuo, Pizzicar Galante gives voice to different instrumental timbres. Among these, the charming, crystal-clear sound of an original 18th-century Neapolitan mandolin: an absolute rarity that makes this recording truly unique. © Arcana
Jozua
New member
Hi
My problem is Amazon deliveries take months to arrive or are not always shipped to South Africa.
So I am creating wish lists at various local importers.
I have Tidal but I prefer disc's - it just sounds better to me.
Regards
Jozua
My problem is Amazon deliveries take months to arrive or are not always shipped to South Africa.
So I am creating wish lists at various local importers.
I have Tidal but I prefer disc's - it just sounds better to me.
Regards
Jozua
Giovanni Benedetto Platti - Sonate à tre
Radio Antiqua
Qobuz 24/96
Lovely music from a composer I had never heard of before.
Good sound too.
Giovanni Benedetto Platti was born in northern Italy and spent some of his youth in Venice, where his father was a violetta player at St Mark’s, before he received his court appointment as an oboist and violinist at the court chapel of Würzburg in 1722. Two years later, the music-loving and cello-playing count of Schönborn, Rudolf Franz Erwein, had managed to secure him as a musician for his own household at his small residence in the county of Wiesentheid. Platti composed - in addition to his ordinary ouptut for worldly and spiritual occasions - for the cello, the Count’s favourite instrument: a dozen sonatas, 28 concerti, 6 duets and over 21 trio sonatas in which the two melodic instruments are not playing at the same height. The music collection of the counts of Schönborn-Wiesentheid very probably consists of Erwein’s personal music library and is today an important historical music archive. Radio Antiqua present in partly world premiere six trio sonatas from that collection, which the count could presumably have played with Platti. © Ramée
For Jozua: www.ramee.org :hey:
Radio Antiqua
Qobuz 24/96
Lovely music from a composer I had never heard of before.
Good sound too.
Giovanni Benedetto Platti was born in northern Italy and spent some of his youth in Venice, where his father was a violetta player at St Mark’s, before he received his court appointment as an oboist and violinist at the court chapel of Würzburg in 1722. Two years later, the music-loving and cello-playing count of Schönborn, Rudolf Franz Erwein, had managed to secure him as a musician for his own household at his small residence in the county of Wiesentheid. Platti composed - in addition to his ordinary ouptut for worldly and spiritual occasions - for the cello, the Count’s favourite instrument: a dozen sonatas, 28 concerti, 6 duets and over 21 trio sonatas in which the two melodic instruments are not playing at the same height. The music collection of the counts of Schönborn-Wiesentheid very probably consists of Erwein’s personal music library and is today an important historical music archive. Radio Antiqua present in partly world premiere six trio sonatas from that collection, which the count could presumably have played with Platti. © Ramée
For Jozua: www.ramee.org :hey:
Puma Cat
Well-known member
Robert Schumann - Liederkreis Op. 24 - Kernerlieder
Matthias Goerne
Leif Ove Andsnes
Qobuz 24/96
Lieder, especially from such talented composer and performers, are a joy to hear.
When you know it was written by a man in great pain, it's even more touching.
Justinus Kerner, a poet and a practicing physician fascinated with occultism, somnambulism and magnetism, inspired young Schumann who, at just seventeen, set to music the singular poet’s verses. He would eventually come back to it in 1840 with a strange cycle, “a masterpiece of dereliction” (according to Brigitte François-Sappey) he wrote as an exorcism for his mental illness: through a suite of twelve poems (Zwölf Gedichte Op. 35, better known as “Kerner Lieder”), Schumann projects his own destiny, questioning himself, trying to understand why sadness overwhelms his soul even though he’s in-love and newlywed.
This pain produced a series of masterpieces that are still admired for their musical and philosophical reach. Liederkreis Op. 24 also dates back to 1840, a surprisingly prolific year for Schumann who composed like a mad man; his first cycle of lieder based on poems by Heinrich Heine about love and its inevitable consequences: expectations, hope, disillusionment and farewells.
The result of many years of collaboration between Matthias Goerne and Leif Ove Andsnes, this album, recorded in Berlin in 2018, will undoubtedly be a landmark in Schumannian interpretation. The German baritone’s voice has grown deeper with age, giving a unique intensity rich with doubt and desolation, an impression reinforced by the strength and intensity of the Norwegian pianist’s performance. © François Hudry/Qobuz
Matthias Goerne
Leif Ove Andsnes
Qobuz 24/96
Lieder, especially from such talented composer and performers, are a joy to hear.
When you know it was written by a man in great pain, it's even more touching.
Justinus Kerner, a poet and a practicing physician fascinated with occultism, somnambulism and magnetism, inspired young Schumann who, at just seventeen, set to music the singular poet’s verses. He would eventually come back to it in 1840 with a strange cycle, “a masterpiece of dereliction” (according to Brigitte François-Sappey) he wrote as an exorcism for his mental illness: through a suite of twelve poems (Zwölf Gedichte Op. 35, better known as “Kerner Lieder”), Schumann projects his own destiny, questioning himself, trying to understand why sadness overwhelms his soul even though he’s in-love and newlywed.
This pain produced a series of masterpieces that are still admired for their musical and philosophical reach. Liederkreis Op. 24 also dates back to 1840, a surprisingly prolific year for Schumann who composed like a mad man; his first cycle of lieder based on poems by Heinrich Heine about love and its inevitable consequences: expectations, hope, disillusionment and farewells.
The result of many years of collaboration between Matthias Goerne and Leif Ove Andsnes, this album, recorded in Berlin in 2018, will undoubtedly be a landmark in Schumannian interpretation. The German baritone’s voice has grown deeper with age, giving a unique intensity rich with doubt and desolation, an impression reinforced by the strength and intensity of the Norwegian pianist’s performance. © François Hudry/Qobuz
Kaija Saariaho - True Fire - Trans - Ciel d'hiver
Finnish Radio Symphony Orchestra, Hannu Lintu
Gerald Finley
Xavier de Maistre
Qobuz 24/48
As always intriguing works from the Finnish composer.
She succeeds every time again in creating a very special atmosphere.
Quite addictive.
She's in my top 5 of contemporary composers.
This programme offers an immersion into Kaija Saariaho’s magical and poetic world, with three works that were recently recorded for the very first time. The Paris-based Finnish composer is among the most prominent names on the music scene today. Born in 1952, Saariaho has successfully crafted her own musical universe, with unique colours and whispers, drawing inspiration from the great spectacle of nature as well as her own mental landscapes, imagined from her dreams, philosophy and international literature.
Although they were all composed within the same era (between 2013 and 2015), these three captivating pieces offer three different perspectives on her orchestral music. Ciel d’hiver is a rearrangement for orchestra only, True Fire is a song cycle, and Trans a harp concerto.
Ciel d’hiver is a transposition for small orchestra of the central movement of Orion, a triptych composed in 2002 for a giant orchestra. Inspired by Greek mythology, it joins a series of works inspired by the infinity and mystery of sky and space.
True Fire was commissioned by four orchestras (Los Angeles, Hamburg, Paris [Orchestre National de France], and London [BBC]) for baritone Gerald Finley. It is a cycle of six songs written from poems of various authors. Saariaho’s goal was to explore the singer’s unique vocal range by allowing him to deploy the full scope of his expressiveness.
And with Trans, the composer first and foremost explores the “depths of the instrument’s soul” − the harp − without sacrificing virtuosity. Written in three movements, this concert uses a relatively small orchestra, with a translucent writing in which the harp converses with an instrument, or an entire section. This way, the harp becomes the driving force of the music, and its main protagonist. © François Hudry/Qobuz
Finnish Radio Symphony Orchestra, Hannu Lintu
Gerald Finley
Xavier de Maistre
Qobuz 24/48
As always intriguing works from the Finnish composer.
She succeeds every time again in creating a very special atmosphere.
Quite addictive.
She's in my top 5 of contemporary composers.
This programme offers an immersion into Kaija Saariaho’s magical and poetic world, with three works that were recently recorded for the very first time. The Paris-based Finnish composer is among the most prominent names on the music scene today. Born in 1952, Saariaho has successfully crafted her own musical universe, with unique colours and whispers, drawing inspiration from the great spectacle of nature as well as her own mental landscapes, imagined from her dreams, philosophy and international literature.
Although they were all composed within the same era (between 2013 and 2015), these three captivating pieces offer three different perspectives on her orchestral music. Ciel d’hiver is a rearrangement for orchestra only, True Fire is a song cycle, and Trans a harp concerto.
Ciel d’hiver is a transposition for small orchestra of the central movement of Orion, a triptych composed in 2002 for a giant orchestra. Inspired by Greek mythology, it joins a series of works inspired by the infinity and mystery of sky and space.
True Fire was commissioned by four orchestras (Los Angeles, Hamburg, Paris [Orchestre National de France], and London [BBC]) for baritone Gerald Finley. It is a cycle of six songs written from poems of various authors. Saariaho’s goal was to explore the singer’s unique vocal range by allowing him to deploy the full scope of his expressiveness.
And with Trans, the composer first and foremost explores the “depths of the instrument’s soul” − the harp − without sacrificing virtuosity. Written in three movements, this concert uses a relatively small orchestra, with a translucent writing in which the harp converses with an instrument, or an entire section. This way, the harp becomes the driving force of the music, and its main protagonist. © François Hudry/Qobuz
Sent from my iPhone using Tapatalk
Sent from my iPhone using Tapatalk
I've got several copies of this great recording. Original Mercury early pressing, Classic Reissue, Speaker's Corner reissue and a 15ips 2 track tape (probably around 3-4 gen tape). Be interested to see whether this one beats the earlier reissues.
Larry
This sounds fabulous. Anything Chad touches turns out gold! This is no exception.
Johann Mattheson - Suites
Cristiano Holtz, harpsichord
via Qobuz
Excellently recorded and played album.
The musician comes from Brazil, played this in the Netherlands. Composer with an English sounding name, lived in Hamburg, but played in a French style.
Music is without frontiers!
From the label Ramée.
.
Cristiano Holtz, harpsichord
via Qobuz
Excellently recorded and played album.
The musician comes from Brazil, played this in the Netherlands. Composer with an English sounding name, lived in Hamburg, but played in a French style.
Music is without frontiers!
From the label Ramée.
.
