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  #23501  
Old 05-31-2021, 04:41 PM
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This is wonderful!

Frederic Mompou - Música Callada
Josep Colom
Qobuz 24/192




'Silent Music'.
Title well deserved.

Probably the most important Catalan Classical piano work, Frederic Mompou’s Música callada, performed by the most eminent Catalan pianist of our time, Josep Colom.
Mompou’s Música callada is a very special, elusive work of the piano repertoire. Their pieces speak with a minimalist simplicity; as Mompou himself stated: “Its mission is to reach the profound depths of our soul and the hidden domains of the vital force our spirits. This music is silent as if heard from within”.
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  #23502  
Old 06-04-2021, 07:07 PM
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24/96 download. Dutilleux strikes me as having a knack for evoking the magical (both enchanting and raw), not only in the fantastical Le Loup, but in the showpieces for flute, oboe, and bassoon as well. Wilson avoids the temptation of overly lush and syrupy in conducting a clear-lined, well-performed delineation of the respective scores. And the sonics? To die for, if one's looking for the airiest, broadly-dimensioned of soundstages. (And that's auditioned in an 11x13x8 bedroom furnished as such.)

If there's any question...I like it.
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  #23503  
Old 06-04-2021, 07:42 PM
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Quote:
Originally Posted by jimtranr View Post




24/96 download. Dutilleux strikes me as having a knack for evoking the magical (both enchanting and raw), not only in the fantastical Le Loup, but in the showpieces for flute, oboe, and bassoon as well. Wilson avoids the temptation of overly lush and syrupy in conducting a clear-lined, well-performed delineation of the respective scores. And the sonics? To die for, if one's looking for the airiest, broadly-dimensioned of soundstages. (And that's auditioned in an 11x13x8 bedroom furnished as such.)



If there's any question...I like it.


Nice review Jim, thanks. I’m listening to it now via Qobuz and I like it as well.
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  #23504  
Old 06-04-2021, 08:05 PM
Kal Rubinson Kal Rubinson is offline
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Quote:
Originally Posted by jimtranr View Post


If there's any question...I like it.
Quote:
Originally Posted by Antonmb View Post
Nice review Jim, thanks. I’m listening to it now via Qobuz and I like it as well.
I am a big fan of Dutilleux (love the SSO series) but this is an outstanding release with brilliant performances and spectacular multichannel sound.
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  #23505  
Old 06-05-2021, 07:52 AM
Soundmig Soundmig is offline
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Quote:
Originally Posted by jimtranr View Post


24/96 download. Dutilleux strikes me as having a knack for evoking the magical (both enchanting and raw), not only in the fantastical Le Loup, but in the showpieces for flute, oboe, and bassoon as well. Wilson avoids the temptation of overly lush and syrupy in conducting a clear-lined, well-performed delineation of the respective scores. And the sonics? To die for, if one's looking for the airiest, broadly-dimensioned of soundstages. (And that's auditioned in an 11x13x8 bedroom furnished as such.)

If there's any question...I like it.
Nice find. Listened on Quobuz, solid performance and sonics are first rate!
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  #23506  
Old 06-05-2021, 02:43 PM
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Default Martha Argerich is 80 years old!

Claude Debussy - Fantaisie - Violin Sonata - Cello Sonata - La Mer
Martha Argerich
Michael Barenboim
Kian Soltani
Daniel Barenboim
Staatskapelle Berlin

Qobuz 24/48




New release from this grand lady of classical piano.

https://www.classicfm.com/artists/ma...rich/pictures/
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Last edited by bart; 06-05-2021 at 02:50 PM.
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  #23507  
Old 06-05-2021, 04:12 PM
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Johannes Brahms - Piano Concertos
András Schiff
Orchestra of the Age of Enlightenment
Qobuz 24/96




Schiff plays on a period instrument (a Blüthner piano, Leipzig, c. 1859) and conducts.
What marvellous pieces these 2 concertos are!

These are valuable comments to understand this album a little better:

Arnold Schoenberg called him "Brahms the Progressive". Whilst Johannes Brahms’s musical language and formal cosmos were deeply rooted in the past, by burrowing into the music of Bach and Beethoven he brought forth compositional fabrics of a tight-knit perfection that pointed far into the future.
Yet, over years of continuously evolving interpretations, Brahms’s oeuvre has acquired an inappropriate heaviness more likely to conceal the fabric of his music than to unveil the subtle intricacies of its "developing variations", to quote Schoenberg’s term for his compositional method. András Schiff emphasizes precisely this point in his new recording of the two piano concertos with the Orchestra of the Age of Enlightenment.

These developments, need it be said, are also related to changing performance conditions and transformations in society. But it is not always easy to say where the causal chain began. What is certain is that the growth of a global audience for music – with a corresponding increase in volume levels, larger concert halls and ever more massive ensembles and sturdier instruments – has led to a distorted image of Brahms that cries out for correction. After all, as Schiff puts it, Brahms’s music is "transparent, sensitive, differentiated and nuanced in its dynamics".
In order to bring this to light, however, we must recall the performance conditions of Brahms’s day and reconstruct them as best we can. The Meiningen Court Orchestra, one of Europe’s most progressive and highly acclaimed orchestras of the era, and Brahms’s personal favourite (he conducted it in the première of his Fourth Symphony in 1885), consisted at times of no more than 49 musicians with nine first violins. Moreover, the pianos he preferred, mainly built by the firms of Streicher, Bösendorfer and Blüthner, were more limpid in their sound, richer in overtones, and responded to a lighter touch.

András Schiff already turned to period instruments on some of his earlier recordings for ECM’s New Series, including his two double albums with Schubert’s late piano works, for which he used a fortepiano built by Franz Brodmann in 1820. He had used the same instrument for his double album with Beethoven’s Diabelli Variations, contrasting this version with a reading of the same work on a Bechstein grand of 1921.
Now Sir András has chosen the conductor-less Orchestra of the Age of Enlightenment, with its period instruments, for his recording of the two Brahms Concertos. And he plays an historic grand piano built by the Leipzig firm of Julius Blüthner in 1859. The result is nothing less than an attempt "to recreate and restore the works, to cleanse the music and to liberate it from the burden of the –often questionable- trademarks of performing tradition".
At times the recordings take on the quality of chamber music, as is especially telling in the last two movements of the B-flat Major Concerto, Op. 83. The result is a performance that approaches the original character of the sound, revealing those layers of the works that emphasise the dialogue between soloist and orchestra – and dispelling the preconception that the Second Concerto is a "symphony with piano obbligato". © ECM New Series
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  #23508  
Old 06-05-2021, 11:02 PM
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  #23509  
Old 06-06-2021, 07:08 AM
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Alfred Schnittke - Choir Concerto - Three Sacred Hymns
Arvo Pärt - Seven Magnificat-Antiphons
Estonian Philharmonic Chamber Choir, Kaspars Putninš
Qobuz 24/96




We enjoyed this!

As Alfred Schnittke and Arvo Pärt both adopted the Orthodox faith in the 1970s, Orthodox choral traditions became increasingly prominent in their work, but both composers also looked to the music of the Western church. Schnittke’s Three Sacred Hymns set three prayers, familiar in the West as "Ave Maria", the "Jesus Prayer" and the "Lord’s Prayer", and evoke Orthodox chant. His Choir Concerto, on the other hand, draws on Russian choral music of the 19th century and the tradition of large-scale concert works based on Orthodox choral music. The texts by the medieval Armenian poet Gregory of Narek are informed by a humanistic individualism, with the poet directly expressing his emotions and often writing in the first person.

In the case of Pärt, his detailed study of Orthodox chant caused him to develop his so-called "tintinnabuli" system of composition as an extension of the harmonic practices of Orthodox choral music. He wrote his Seven Magnificat-Antiphons in 1988, applying the tintinnabuli technique to texts from the Catholic liturgy in the German language – a striking East-West hybrid.

The Estonian Philharmonic Chamber Choir and Kaspars Putninš have combined sacred works by Schnittke and Pärt before, their previous release on BIS earning them a prestigious Gramophone Award in the Choral Music category. © BIS Records
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  #23510  
Old 06-06-2021, 03:22 PM
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Originally Posted by jimtranr View Post


24/96 download. Dutilleux strikes me as having a knack for evoking the magical (both enchanting and raw), not only in the fantastical Le Loup, but in the showpieces for flute, oboe, and bassoon as well. Wilson avoids the temptation of overly lush and syrupy in conducting a clear-lined, well-performed delineation of the respective scores. And the sonics? To die for, if one's looking for the airiest, broadly-dimensioned of soundstages. (And that's auditioned in an 11x13x8 bedroom furnished as such.)

If there's any question...I like it.

I followed the classical gang, and also enjoyed it.
I'll probably download the multichannel version later on.
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AV: Hegel C-53, Marantz AV8802A, Oppo BDP-203EU, Pioneer Kuro 60", Vivid Audio C1 & V1w's, Wireworld Platinum Eclipse, SE & E
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