|
||||
Anton Bruckner - Mass No. 2 in E minor & Te Deum
Collegium Vocale gent Orchestre des Champs-Elysées, Philippe Herreweghe Qobuz 24/96 Recorded in '12 and last year, and brought out on his own label. We usually attend 1-2 concerts with Collegium Vocale a year. I'm starting to really miss the live events... Composed in 1866 for the inauguration of a votive chapel in Linz Cathedral, Anton Bruckner’s Mass No. 2 is a fine example of modernity blended with a centuries-old religious tradition, in that wind instruments are set in dialogue with choral writing inspired by Gregorian chant. Shorter in duration but scored for chorus and large orchestra with four soloists, his Te Deum of 1881 was acclaimed by such illustrious contemporaries as Hans Richter and Mahler, while the composer, usually very self-critical, opined that the score of this work would make God ‘judge him kindly’. Like the eminent interpreter of the sacred repertory he is, Philippe Herreweghe here conveys with great fervour his vision of these two major religious works of the second half of the nineteenth century. © Phi
__________________
Stereo: Hegel H590, Grimm Audio MU1, Mola Mola Tambaqui, Burmester 948 - V3 & V6 racks, Vivid Audio G2 Giyas, REL Carbon Special (pair), Silent Angel Bonn N8 Ethernet Switch & Forester F1, Wireworld Platinum Eclipse IC and SE SC, Furutech Digiflux AV: Hegel C-53, Marantz AV8802A, Oppo BDP-203EU, Pioneer Kuro 60", Vivid Audio C1 & V1w's, Wireworld Platinum Eclipse, SE & E Second system (veranda): Halgorythme preamp and monoblocks, Burmester 061, Avalon Avatar, Sharkwire & Wireworld cables |
|
||||
Philippe Pierlot - Le Tombeau de Monsieur de Sainte Colombe
via Qobuz Works from Marais, Sainte-Colombe, Demachy and Du Buisson. Good but not as good as Savall, Pandolfo or Lischka.
__________________
Stereo: Hegel H590, Grimm Audio MU1, Mola Mola Tambaqui, Burmester 948 - V3 & V6 racks, Vivid Audio G2 Giyas, REL Carbon Special (pair), Silent Angel Bonn N8 Ethernet Switch & Forester F1, Wireworld Platinum Eclipse IC and SE SC, Furutech Digiflux AV: Hegel C-53, Marantz AV8802A, Oppo BDP-203EU, Pioneer Kuro 60", Vivid Audio C1 & V1w's, Wireworld Platinum Eclipse, SE & E Second system (veranda): Halgorythme preamp and monoblocks, Burmester 061, Avalon Avatar, Sharkwire & Wireworld cables |
|
||||
Reicha: Quatuor Scientifique
Reicha Quartet Brilliant Classics (2019), via Qobuz Nice recording of these very nice pieces.
__________________
Tony D'Agostino Momentum S250 MxV & HD pre; Linn Klimax Organik DSM, SonicTransporter, EtherRegen; Acoustic Signature Typhoon Neo, Koetsu RSP, Boulder 1108; Sf Il Cremonese; Shunyata Everest, Altaira, Sigma & Alpha v2 |
|
|||
“Lozakovich is a serious artist and demands to be taken seriously; he already plays like one of the greats or, better said, like one of the great players of the past. His tone … resonates with the Romantic warmth of such forebears as Christian Ferras or Jascha Heifetz.”
Hamburger Abendblatt, August 2019 Violinist Daniel Lozakovich’s majestic music-making has left critics and audiences spellbound. “Perfect mastery. An exceptional talent,” observed Le Figaro after a performance in Verbier Festival, while the Boston Globe praised the “poise, tonal purity, and technique to spare” of his debut with the Boston Symphony Orchestra and Andris Nelsons at the Tanglewood Festival in July 2017. Last edited by PHC1; 10-24-2020 at 11:38 PM. |
|
||||
Quote:
We decided to play something that is not overly romantic this Sunday morning. @Serge: thanks for the reminder.
__________________
Stereo: Hegel H590, Grimm Audio MU1, Mola Mola Tambaqui, Burmester 948 - V3 & V6 racks, Vivid Audio G2 Giyas, REL Carbon Special (pair), Silent Angel Bonn N8 Ethernet Switch & Forester F1, Wireworld Platinum Eclipse IC and SE SC, Furutech Digiflux AV: Hegel C-53, Marantz AV8802A, Oppo BDP-203EU, Pioneer Kuro 60", Vivid Audio C1 & V1w's, Wireworld Platinum Eclipse, SE & E Second system (veranda): Halgorythme preamp and monoblocks, Burmester 061, Avalon Avatar, Sharkwire & Wireworld cables |
|
|||
|
|
|||
Grammy Award-winning Russian pianist Daniil Trifonov (dan-EEL TREE-fon-ov) – Musical America’s 2019 Artist of the Year – has made a spectacular ascent of the classical music world, as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer.
Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. “He has everything and more … tenderness and also the demonic element. I never heard anything like that,” marveled pianist Martha Argerich. With Transcendental, the Liszt collection that marked his third title as an exclusive Deutsche Grammophon artist, Trifonov won the Grammy Award for Best Instrumental Solo Album of 2018. As The Times of London notes, he is “without question the most astounding pianist of our age.” |
|
|||
|
|
|||
https://static.qobuz.com/goodies/62/000128226.pdf
With this album, Daniil Trifonov’s completes his exploration of the complete Rachmaninov works for piano and orchestra, accompanied by the Philadelphia Orchestra under Yannick Nézet-Séguin. The previous two recordings garnered considerable acclaim, so this new release is highly anticipated. In the illuminating booklet, Trifonov speaks of the substantial undertaking the composer took upon himself with the Third Concerto, and even describes the piece in religious terms. While Trifonov clearly savors the bravura writing, he also enjoys the many moments of introspection. This is especially apparent in the first movement cadenza (Track 6, 10’05”), played with an organic, improvisatory freedom that does indeed make it seem like we are listening in on an inner conversation with the Creator. Trifonov, as Ashkenazy in his famous version with Previn, chose the less brilliant “Ossia” cadenza rather than the flashier alternative. The third movement of the concerto is another highlight. In lesser hands, the music can be flashy and loud, moving from one climax to the next, but Trifonov and Nézet-Séguin are clearly focused on allowing the music to continually grow and expand into the overwhelming hymn of praise unleashed in the coda. Even listening at home, it is difficult to resist leaping to your feet to shout ‘bravo’ at your speakers. In short, there is so much more to these performances than Trifonov’s phenomenal technique, which of course enables him to execute even the most difficult passages with unerring accuracy and tonal beauty. The greater success of this recording, as well as the other two recordings in the series, is how completely Trifonov inhabits the complex and profound “gestalt’ of this music and its composer. After listening to a Trifonov performance it is hard to believe the music can be played any other way. Last edited by PHC1; 10-25-2020 at 11:33 AM. |
Thread Tools | |
Display Modes | |
|
|
Audio Aficionado Sponsors | |