performance Archive
Leonard Cohen – I’m Your Man, Blu-ray (2005/2017)
A revival performance of some of Cohen’s big hits plus a bio of him. Leonard Cohen – I’m Your Man, Blu-ray (2005/2017) Cast: Leonard Cohen, Martha Wainwright, Teddy Thompson, Nick Cave, Kate McGarrigle Director: Lian Lunson Studio: Lions Gate Ent. (1/7/17) Video: 1.78 for 16:9 widescreen, color Audio: English 5.1 DTS-HD MA Subtitles: English SDH, English, Spanish Extras: Audio commentary track with director, “A Conversation with Leonard Cohen” featurette, Addition Cohen song performances not in film, “Tower of Song” – perf. by Martha Wainwright, “Bird on a Wire” perf. by Pela Batalla, “Famous Blue Raincoat” perf. by The Handsome Family, “Tonight Will be Fine,” perf. by Teddy Thompson, Theatrical trailer Length: 102 min. Rating: **** An excellent bio on Leonard Cohen while also a tribute onstage performance by younger performers of some of his hit songs. The film is narrated by Cohen himself in his laid-back style, and shows how he was a monk for several years at a demanding California zendo. Such artists as U2, Jarvis Cocker, Nick Cave and Beth Orton perform his songs which he also talks about. This becomes a fascinating and more unusual approach to the usual bio of a musical star. The film ends […]
Jim HALL (guitar) & Red MITCHELL (bass) – Valse Hot: Live at the Sweet Basil 1978 – ArtistsShare
Jim HALL (guitar) & Red MITCHELL (bass) – Valse Hot: Live at the Sweet Basil 1978 [TrackList follows] – ArtistsShare 0148, 50:00 (10/7/16) ****½: Unreleased recordings of a memorable 1978 encounter between Jim Hall and Red Mitchell. I never had the chance to see Red Mitchell play in person. A couple of years after his death in 1992, I found myself standing in his house on the occasion of a house concert, staring at his bass. There it was, a 200-year-old German-made instrument, rather battered and noble-looking. I really wanted to pluck the low string, for unlike any other bass, it was a low C. For a bassist, it was close to the Holy Grail. With Mitchell, one of the giants of the art form, gone, it is rewarding to get a lost recording and to once again hear the most distinctive instrumental voice in jazz played in Mr. Mitchell’s inimitable style, his bass tuned like a cello to C-G-D-A. The session on document here is a Red Mitchell/ Jim Hall duo performance at the Sweet Basil from back in 1978, a recording of which had previously been issued, a highly sought-after item in the LP days. Other analog tapes […]
BERLIOZ: Symphonie fantastique – Royal Concertgebouw Orch./ Daniele Gatti – RCO/ Avotros 45rpm vinyl (2)
Amazing fidelity in this 45 rpm vinyl, though perhaps not the best performance. HECTOR BERLIOZ: Symphonie fantastique – Royal Concertgebouw Orchestra/ Daniele Gatti – RCO/ Avotros 45 RPM vinyl (2 discs) ****1/2: Gatti is the seventh conductor of the famed Concertgebouw Orchestra in Amserdam, and takes an unconventional version of the score which has astonished audience since its premiere in 1830. He has a sense of surprise and freshness based on the thorough knowledge of Berlioz’ score, and the joy of making music with the RCO member players who choose Gatti as their new chief conductor. This a masterful job of remastering at 45 rpm. Unfortunately, the performance – while excellent – doesn’t seem to find anything new in this extraordinary work of Berlioz. It is also available on a fine RCO multichannel SACD (which I have not heard) but using the pseudo-surround feature on most preamps creates an absolutely enveloping music in surround effect with this magnificent 45 rpm remastering. One writer compared the SACD sonics to the SACDs of the ten Mahler Symphonies released a few years ago by the Concertgebouw. The warmth and ambiance of the acoustically-perfect concert hall come thru either way. You would have to […]
Mindru Katz plays BEETHOVEN, Vol. 2 – Sonata No. 11 in B-flat Major; Sonata No. 30 in E Major; Sonata No. 32 in c – Mindru Katz, p. – Cembal d’amour
Mindru Katz delivers epic and intimate Beethoven from Tel Aviv, 1971. Mindru Katz plays BEETHOVEN, Vol. 2 – Sonata No. 11 in B-flat Major, Op. 22; Sonata No. 30 in E Major, Op. 109; Sonata No. 32 in c minor, Op. 111 – Mindru Katz, p. – Cembal d’amour 185, 76:21 (11/19/16) [www.cembaldamour.com] ****: Taken from the live recital by Mindru Katz (1925-1978) in Tel Aviv, 7 July 1971, these Beethoven sonatas assembled by producer Mordecai Shehori reveal Mindru Katz as among the more cerebral of virtuoso performers of the Bonn master. The opening work, the 1800 Sonata in B-flat Major, Op. 22, received admiration from the composer himself as indicative of his farewell to the grand Viennese style. Beethoven seems content to explore musical kernels and motives for their own sake, without recourse to personal drama. Katz imposes a severe and sober sensibility on the work as a whole, whose heart lies in the second movement, Adagio con molta espessione. Here, a florid melody finds accompaniment in a bass lie that throbs and broods, while the sixteenth notes find their way into both hands and another melodic line attempts to offer consolation. The Menuetto begins in the pure spirit […]
STRAVINSKY: Pulcinella Suite; Appolon Musagete; Concerto in D for Strings – Tapiola Sinfonietta/ Masaaki Suzuki – BIS
STRAVINSKY: Pulcinella Suite; Appolon Musagete; Concerto in D for Strings – Tapiola Sinfonietta/ Masaaki Suzuki – BIS multichannel SACD 2211, 64:55 [Distr. by Naxos] (6/3/16) ****½: A sensational performance in high-definition sound of Stravinsky’s Pulcinella Suite. Masaaki Suzuki must be pleased to see the culmination of his long-term project of recording all of Bach’s choral music, which has been handsomely released on a 55-SACD set by BIS. But for this indefatigable artist there is no rest. We find him on the back cover dressed in white, a radiant sage with hands suggesting restless intelligence. For this recording, he has crossed oceans, continents and centuries to give us an all-Stravinsky concert with the superb Finnish Tapiola Sinfonietta. The Pulcinella Suite is the main attraction here, and it is a piece of wondrous invention. It is a tired cliche to point out that it belongs to the composers “classical” rediscovery of the past; It is utterly unlike the other works from that period. In fact, it sounds more eternally fresh than The Rite Of Spring or Firebird. Perhaps it constitutes a masterpiece in a genre best nominated “the comic sublime.” Each movement limns a radically individual musical character associated with Commedia dell’ […]
BRUCKNER: Symphony No. 9 – Hallé Orch./BBC Northern Sym. Orch./ Sir John Barbirolli – Pristine Audio
This previously-unreleased Barbirolli/Bruckner Ninth bristles with ardent energy and yearning devotion. BRUCKNER: Symphony No. 9 in d minor (Original Version), WAB 109 – Hallé Orchestra/BBC Northern Sym. Orch./ Sir John Barbirolli – Pristine Audio PASC 486, 57:43 [avail in various formats from www.pristineclassical.com] ****: Producer and recording engineer Andrew Rose resurrects a taped BBC performance of Bruckner’s unfinished Ninth Symphony (1887-1896) given by Sir John Barbirolli at Free Trade Hall, Manchester, England,14th December, 1961, the conductor’s debut in this music. The combined orchestras of the Halle and Northern Symphony come as a true rarity, and Barbirolli coordinates his forces well. The opening movement vibrates with a palpable luminosity, nervous and grandly ardent. The challenge lies in imposing a sense of structure on the fantasia that Bruckner unfolds, moving quickly from d minor into D-flat and E Major in order to effect potent fff climaxes spread over long periods. The earthy energy Barbirolli applies well reminds me of the performances of Bruckner by Eduard van Beinum, which likewise strain for mystical release in the face of grinding tension. The most exalted rendition, the Furtwaengler 1944 performance in Berlin, attains its anguished mysticism in the face of contemporary world history. Still, the unison […]
MAHLER: Das Lied von der Erde – Kathleen Ferrier, mezzo/ Set Svanholm, tenor/ NY Philharmonic/ Bruno Walter – Pristine Audio
Andrew Rose revives Kathleen Ferrier’s American debut, in her first Bruno Walter-led “Symphony of Songs” by GUSTAV MAHLER. MAHLER: Das Lied von der Erde – Kathleen Ferrier, mezzo-soprano/ Set Svanholm, tenor/ New York Philharmonic/ Bruno Walter – Pristine Audio PACO 137, 58:20 (mono) [avail in var. formats from www.pristineclassical.com] ****: In this, Andrew Rose’s restoration of 18 January 1948 performance of Gustav Mahler’s Das Lied von der Erde at Carnegie Hall under Bruno Walter, the great Kathleen Ferrier (1912-1953) made her American debut. The tenor solo has Set Svanholm (1904-1964), the Swedish operatic talent who had assumed much of the repertory that was dominated by Lauritz Melchior. Recorded history now has four interpretations of this mighty score with Bruno Walter, who gave the world premiere 20 November 1911. The performance here at Carnegie Hall possesses a decisive urgency, occasionally making Svanholm enter ahead of the beat. What we crave always and forever remain Ferrier’s vocal timbre and lyrical stamina, which appear to gain strength and fervor as this evening’s rendition evolves. The music well-combines the contradictions in Mahler’s character: his cosmopolitanism and complete orchestral mastery and security, even as the otherwise distant, detached nature of the poetry becomes emblazoned in […]
MOZART: Serenade in B-flat Major; “Gran Partita”; Serenade in E-flat Major – EU Ch. Orch./ Santiago Mantas – Divine Art
Conductor Mantas and his European Union Chamber Orch. Wind Octet do honor to Mozart. MOZART: Serenade in B-flat Major, K. 361 “Gran Partita”; Serenade in E-flat Major, K. 375 – European Union Ch. Orch./ Santiago Mantas – Divine Art dda 25136, 77:21 [Distr. by Naxos] ****: Of all the recorded music in rather generous collections of German conductor Wilhelm Furtwaengler and the Russian Serge Koussevitzky, the one curiosity persists in their Mozart repertory, and that is the 1781 Serenade in B-flat Major, the so-called Gran Partita. I assume that is because the work presents a mammoth design for chamber wind instruments, it provides a masterful display piece for any philharmonic’s principal players. The seven movements of the Gran Partita consist of a sonata-allegro with a Lento introduction, a Menuetto and double trio, an Adagio, another Menuetto and double trio featuring an obvious ländler, a tripartite Romance: Adagio, a theme and variations with a curious interruption, and a spritely finale, Molto allegro, totaling nearly an hour of music. The one performance during Mozart’s lifetime occurred 23 March 1784, at a benefit concert created by clarinet virtuoso Anton Stadler, though he auditioned only four of its movements. Since answers to the questions of eingangen (little […]
TCHAIKOVSKY: Swan Lake Suite – Menuhin, v./Philharmonia Orch./ Efrem Kurtz – HiQ xrcd24
TCHAIKOVSKY: Swan Lake, Op. 20: (Suite from the Ballet) – Yehudi Menuhin, v./ Philharmonia Orch./ Efrem Kurtz – Hi-Q xrcd24 HIQXRCD49, 60:00 (6/24/16) [Distr. by Warner Classics] ****: A fine xrcd remastering of a classic performance recording. Once more, Hi-Q remasters Parlaphone 1958 original analog recordings from the three Tchaikovsky ballets recorded in excerpts by Efrem Kurtz and the Philharmonia Orchestra. Given that 1916 marks the centennial of violin virtuoso Yehudi Menuhin (1916-1999), the sliken collaboration in some of the world’s finest ballet music becomes even more attractively noteworthy. Menuhin appears thrice in the course of the excerpts, the last of which, the Danse russe from the Supplement materials, provides a rousing finale. As per expectation, the warm and often suavely heart-rending Menuhin violin tone proves ravishing, as in the appearance of the Swan Princess, Odette. Kurtz himself has an excellent grasp of the Tchaikovsky style, although for unbridled passion in particular dances and scenes, I might recommend Fricsay, Markevitch, and Gergiev as my preferences. At every moment, however, the effect of the new mastering process by Tohru Kotetsu at JVC consistently stuns for effects, especially through my BOSE headphones. The booklet, the slick production qualities, and the recording itself […]
SMETANA: Ma Vlast – Evelinde Trenker and Sontraud Speidel, pianos – MD&G Gold
SMETANA: Ma Vlast – Evelinde Trenker and Sontraud Speidel, pianos – MD&G Gold Records MD&G 930 1960-6 multi-channel SACD with additional 2+2+2 80:00 (8/5/16) [Distr. by eOne] ****: A unique transcription of the Smetana classic arranged for two pianos. Smetana’s Ma Vlast is a standard part of the concert repertoire. It was the composer’s manifesto of national destiny for Czech listeners and it went on to worldwide acclaim. Smetana debuted the piece in 1882, and by that time the composer was almost completely deaf. In structure, it is similar to Lizst’s symphonic poems. Heard with a full orchestra it’s a thrilling piece. Here we get something a little different, with a performance for duo pianos by Eveline Trencher and Sontraud Speidel. The two virtuosi have toured the world in concert, playing acclaimed transcriptions of Mahler and Bruckner at Lincoln Center and at various venues and festivals around Europe. I can’t say I prefer the Smetana for two pianos, but it is a captivating listen. The use of two pianos provides a tonal depth that one piano would not, and the pianists preserve the emotion and lush dynamics of the piece. It’s a surprisingly good listen. The 5.1 channel SACD is […]
“STRAVINSKY in 4 Deals” = Violin Con.; Jeu de cartes; Movements – Soloists/Stravinsky – Praga Digitals
This album serves as a microcosm of Stravinsky’s evolving musical styles, in four performances expertly restored. “STRAVINSKY in 4 Deals” = Violin Concerto in D; Pulcinella – Suite; Jeu de cartes; Movements for Piano and Orchestra – David Oistrakh, violin/ Concerts Lamoureux/ Bernard Haitink/ Philharmonia Orch./ Otto Klemperer/ Bavarian Radio-Sym. Orch./ Igor Stravinsky/ Margrit Weber, p./ Radio-Sym. Berlin/ Ferenc Fricsay – Praga Digitals PRD 250 329, 78:37 (8/12/16) [Distr. by Harmonia mundi] ****: Praga assembles four distinct Stravinsky performances, 1937-1963, that realize the mercurial nature of the composer’s style, especially after his departure from Romanticism and the throes of Le Sacre du Printemps. Both the Pulcinella Suite (1922; rev. 1947) after Pergolesi and the Violin Concerto (1931) embrace neo-Classical ambitions, while Jeu de cartes (1936) – a ballet in “three deals” – ironically adopts both Classical and Expressionist modes. The late Movements for Piano and Orchestra of 1959 proffers Stravinsky’s version of pulverized materials in the style of Webern and serial technique. Of the four performances, three derive from studio recordings, while the Stravinsky reading of his own card game comes to us live – and in brash, exemplary mono sound – from Munich, 4 October 1957. The Violin […]
MOZART: Serenade in B flat major, “Gran Partita”; HAYDN: Notturno No. 8 – Royal Academy of Music Soloists Ens./ Trevor Pinnock – Linn
MOZART: Serenade in B flat major, K. 361, “Gran Partita”; HAYDN Notturno No. 8 in G major – Royal Academy of Music Soloists Ensemble/ Trevor Pinnock – Linn multichannel SACD CKD516, 60 mins. (4/8/16) (Distr. by Naxos) *****: A fine hi-res surround recording of the Mozart Gran Partita, on modern instruments. The collaboration between Trevor Pinnock and the modern-instrument Royal Academy of Music Soloists Ensemble proves to be mutually beneficial. He inspires 20 professionals of tomorrow – and many already of today – to explore and flesh out their historically-informed stylistic instincts under the guidance of an iconic expert in the music he loves best. In return for his authority and experience, they give him a warmth in their virtuosity that amounts in Mozart’s very seductive Serenade, to sex appeal. That this is also the first time Pinnock, who has recorded a lot of Mozart, has recorded the big Serenade, makes it feel like the recording was close to his heart; it must have been particularly gratifying to have the opportunity to record with students whose own artistic profiles he had helped develop in the context of their historical research. Whether they played original instruments or not. The fact they they […]
BEETHOVEN: Symphony No. 3 in E-flat, “Eroica”; Coriolan Ov.– Le Concert des Nations / Jordi Savall – Alia Vox
BEETHOVEN: Symphony No. 3 in E-flat, Op. 55, “Eroica”; Coriolan Overture, Op. 62 – Le Concert des Nations / Jordi Savall – Alia Vox multichannel SACD AVSA9916, 52:14 (4/29/16) *****: Beethoven in wonderful, powerful overdrive: the finest original-instruments performance of the Eroica that I know. I usually think of Jordi Savall only in connection with Baroque and before, a period that he and his original-instruments band do great justice to. But this recording from the Alia Vox archives shows that Savall has a full grasp of the Classical idiom and of Beethoven’s monumental Classical style. Savall’s achievement is, as always, the result of deeply informed scholarship, but more, he inspires his players with a real sense of the drama inherent in the music of the Napoleonic Era. The result is just about the most unrelentingly dramatic Eroica I’ve heard in many years and certainly my favorite original-instruments version of the piece. Savall’s interpretation is fleet of foot, dynamic in the extreme. There’s a famous anecdote about the first time the symphony was performed. An audience member was supposed to have stood up and offered the conductor a thaler if he would “just make the damned thing stop.” Well, there’s no […]
Cory Henry – The Revival – Ground Up Music (CD + DVD)
Cory Henry – The Revival – Ground Up Music 80024621-00 (CD + DVD), 78:45 each, ****1/2: Some of that old time religion and a Hammond B-3 is a great combination! (Cory Henry – Hammond B-3 organ; James Williams – drums, percussion; Bishop Jeffrey White – vocals) As improbable as it sounds, Cory Henry began playing the organ at the age of two. His prodigious career includes working with a wide array of musicians including Yolanda Adams, Michael McDonald, Snarky Puppy, The Roots, P Diddy and Bruce Springsteen. At the core of his musical soul is gospel. Cory Henry’s latest release, The Revival, is an homage to gospel. And in the hands of Henry, there is no better vehicle for spreading the message than the Hammond B-3 organ. Returning to perform at The Greater Temple of Praise, Henry infuses several church standards and a few secular numbers with dynamic, glowing sound. Opening with “Lords Prayer”, the performance starts with a hushed reverie. Henry continues to maintain a low-key soulful vibe, building to a crescendo of vibrato and sustain with modulations and tone diversity that is electrifying. Picking up the tempo, “He Has Made Me Glad” demonstrates a foot-stomping, joyous resonance (not […]
LARSSON: Symphony No. 2; Variations; Barococo Suite – Helsingborg Sym. Orch. /Andrew Manze – CPO
LARS-ERIK LARSSON: Symphony No. 2; Variations, Op. 50; Barococo Suite, Op. 64 – Helsingborg Sym. Orch. /Andrew Manze – CPO 777 672-2 multichannel SACD, 69:53 [Distr. by Naxos] (11/13/15) ****: Very dedicated performances of these works that remain pretty obscure. There are probably a lot of reasons why the music of Swedish composer Lars-Erik Larsson (1908-1986) does not get played much anymore, least of all outside of northern Europe. Larsson was one of those many ‘bridge’ composers caught in the stylistic transition between the mainly Romantic idiom and the later ‘progressives.’ His music contains strains of such a style; sounding like Sibelius in places; perhaps some Franz Berwald, and is not really so unique as to sound unlike others around him. Another reason could be that, for a composer writing this way deep into the mid-twentieth century, he was battling the ‘new wave’ of genuinely new and unique sound worlds occupied by Prokofiev, Bartok, Nielsen and others. So, his music remains eminently listenable and attractive but rather lost in time (which is interesting, because according to the helpful booklet notes by Christoph Schlüren, Larsson even studied with Alban Berg for a while; disappointed not only that he did not get […]
DAN LOCKLAIR: Requiem – Choir of St. Paul’s Episcopal Church – Subito
Personal, private, and persuasive sum up this subdued and very intimate piece. DAN LOCKLAIR: Requiem – Choir of St. Paul’s Episcopal Church, Winston-Salem, NC/ John Cummins, organ & cond./ Members of Winston-Salem Sym. – Subito Music, 38:30 [12/15/15] ****: I have been a fan of Charlotte native Dan Locklair for some time now. His music, in the best American tonal tradition, is always engrossing, engaging, and well-considered at every turn of the pen on paper. Currently Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina, his is a muse that is also reflective in many ways of the best tradition of local influence and inspiration. Having grown up only a few miles from where he now works, I can testify to the particulars of his native region reaching deeply into his considerable art. This holds true for this meditative and optimistically bittersweet Requiem, given in its world premiere performance by the choir of St. Paul’s Episcopal Church. Don’t expect technical precision from the choir or orchestra—there are some moments of intonation slips and exuberant missteps. But that is hardly the point, as the human element in this work is only exacerbated by the very human performance […]
PROKOFIEV: Piano Concertos Nos. 2 & 5 – Vadym Kholodenko p./ Fort Worth Sym./ Miguel Harth-Bedoya – Harmonia mundi
PROKOFIEV: Piano Concertos Nos. 2 & 5 – Vadym Kholodenko p./ Fort Worth Sym./ Miguel Harth-Bedoya – Harmonia mundi multichannel SACD HMU-807631, 57:03 (2/5/16) **** (performance) **1/2 (recording): A dynamic performance of two Prokofiev concertos with disappointing recorded sound. Winner of the gold medal in the 2013 Van Cliburn International Piano Competition, Vadym Kholodenko has impressed audiences around the world and particularly in Texas where he serves as Artist in Partnership with the Fort Worth Symphony. This SACD presents Kholodenko with Miguel Harth-Bedoya and the Fort Worth Symphony Orchestra in a pair of piano concertos by Sergey Prokofiev that clearly showcase Kholodenko’s skills. This SACD is the first in a projected Prokofiev cycle. The disc contains the Second Piano Concerto (1913) and Prokofiev’s Fifth Piano Concerto written almost 20 years later. The Second is well known, the Fifth less so. The performances are precise and dynamic. I’ve only heard a few performances of the Fort Worth Symphony, but they perform ably here. These are both challenging compositions, but they did not defeat the orchestra or the soloist. The recording is not a bad one, but not a standout either. Admittedly, how something is recorded is a matter of taste, but […]
BACH: Goldberg Variations – Alexandre Tharaud, p. – Erato/Warner Classics + video DVD
BACH: Goldberg Variations – Alexandre Tharaud, piano – Erato/Warner Classics 0825646051779, 75:13 + video DVD (16:9), PCM stereo (12/4/15) *****: After a slow, elegant, spaced-out Aria theme, relentlessly hip Alexandre Tharaud proceeds to give a freewheeling 21st century piano virtuoso’s bird’s eye view of the Goldberg Variations. Whatever the attitudes he adopts as he proceeds with the 31 variations – energetic, jaunty, bold, bright and always, forthright – the brilliant recorded sound is like the playing, almost in your face at times; the sound is so integral to the performance that you can buy it on a vinyl and, most important, at whatever volume you play it is uniquely satisfying – although medium-loud enables you to hear more clearly just how much poetry Tharaud lavishes on what at first blush can be misconstrued as frontal attack. It is an eventful journey. Tharaud may soften with a hint of impressionists’ haze on track seven but soon returns to his semi-clattering, wandering, always fascinating ways. He also uses ornaments like earrings, to adorn the music at deliciously vulnerable places; in track 14, he goes to extraordinary lengths in the repeats with his ornaments and embellishments, as if Bach were a dandy at […]
![TIPPETT: Symphony No 2* [ world première]; BLISS: Short works – Boult/Bliss – Pristine Audio](https://www.audaud.com/wp-content/uploads/2016/02/TippettBliss.jpg)
TIPPETT: Symphony No 2* [ world première]; BLISS: Short works – Boult/Bliss – Pristine Audio
An intriguing collection of English Music from both sides of the coin. TIPPETT: Symphony No. 2* [ world première]; BLISS: Welcome The Queen – March; March from ‘Things to Come’; Checkmate (excerpts); Theme and Cadenza for violin and orchestra; Overture: Edinburgh / BBC SO / Sir Adrian Boult*/ BBC Concert Orch. / Sir Arthur Bliss – Pristine Classical PASC460; 78:20 [www.pristineclassical.com] reviewed as a 24-bit download (24 & 16-bit download or CD-R available) ****1/2: Pristine Classical presents a very valuable Janus of a release, the two faces of which are clear from the contents. First we hear the world premiere, together with its unfortunate collapse early on the performance, of Sir Michael Tippett’s knotty and energetic Second Symphony, and then some of the urbane Sir Arthur Bliss’s music on the lighter side. Widely differing music by widely differing composers make for an intriguing combination and a successful one. Sir Michael Tippett was inspired for his athletic and boldly rhythmic Second Symphony by the insistent rhythms of music by Vivaldi to which he was listening, captivated, while on holiday by the shores of Lake Lugano in the early 1950s. It took some years for the inspiration to gestate and assume the […]
HAYDN: Symphony No. 101 – Scottish Ch. Orch./ Robin Ticciati – Linn 45 rpm vinyl
Terrific vinyl sonics as well as performance. 45 rpm!
Vol. 2 from Romantic pianist Jascha Spivakovksy offers a diversity of musical styles, each approached as passionately and reverently.
Vol. 2 from Romantic pianist Jascha Spivakovksy offers a diversity of musical styles, each approached as passionately and reverently.
DVORAK: Cello Concerto in B Minor; FAURÉ: Elegie /Janos Starker, cello/ Philharmonia Orch./Walter Susskind – Hi-Q Records xrcd24
A valuable remastering of a classic Starker performance.
Stereotypes Audio
Cembal d’amour
Pure Pleasure / Speakers Corner
Cedille
