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  #23351  
Old 04-17-2021, 04:22 PM
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Mr. Demachy - Pièces de violle et en tablature
Romina Lischka, basse de viole



We saw this lady yesterday live, and she signed my copy.
This is fine viola da gamba music from a composer who lived at the same time as Sainte Colombe.
Lischka also plays in Collegium Vocale. She's a talented gamba player.

We decided to stay with the bass viol.
Lischka is one of our favourite performers on the instrument.
Demachy is less well known, but wrote music that is as profound as Marais and Sainte Colombe.
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  #23352  
Old 04-18-2021, 11:24 AM
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W.A. Mozart - Le Testament Symphonique- Symphonies 39,40 & 41
Le Concert Des Nations, Jordi Savall
Qobuz 24/88.2




Good to hear these old warhorses from time to time.
These are good interpretations, not the best I've heard but very enjoyable.
Sound is decent.


By the middle of 1788, at the age of 32, Mozart had reached the height of his creative maturity, dominated by the last three symphonies, absolute masterpieces that he composed in a very short period of time – barely one and a half months. This extraordinary “symphonic massif” consisting of three peaks – Symphony No. 39 in E-flat major, completed on 26th June, Symphony No 40 in G minor, completed on 25th July and Symphony No. 41 in C major, the “Jupiter”, dated 10th August – is unquestionably the composer’s “Symphonic Testament”.
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  #23353  
Old 04-18-2021, 11:32 AM
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Ludivico Giustini: 12 Sonatas Op. 1
Paola Zentilin, piano
Brilliant Classics (2020), via Qobuz

Well played and very pleasant music for a Sunday morning.
IMG_0778.jpg
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  #23354  
Old 04-19-2021, 12:59 AM
AMammal AMammal is offline
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OMG this thread is huge.

Loved this, had never (knowingly) heard Josef Rheinberger

E.Power Biggs Rheinberger: Two Concertos for Organ & Orchestra, The Columbia Symphony Maurice Peress, Conductor

(Columbia Masterworks LP, 1973)
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  #23355  
Old 04-19-2021, 04:01 PM
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OMG this thread is huge.

Loved this, had never (knowingly) heard Josef Rheinberger

E.Power Biggs Rheinberger: Two Concertos for Organ & Orchestra, The Columbia Symphony Maurice Peress, Conductor

(Columbia Masterworks LP, 1973)

It is!
One of my favourite threads on the web.
Cost me a lot of money before I went to streaming.

Welcome!
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  #23356  
Old 04-19-2021, 04:15 PM
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Listening to . . . An extraordinary set of CD's . . .

Italiane Baroque

Chiara Banchini - Conductor & Violin
Ensemble 415
Amandine Beyer - Baroque Violin


Ensemble 415 was a remarkable group of Baroque musicians - founded by Chiara Banchini in 1981 and, unfortunately, dissolved in 2012.

This recording is wonderful and is made even more so because it was a gift from a very dear friend who, along with his wife, visited me and my wife a couple of weeks ago. What a treat having those folks here.

Thank you so much, dear friend. (A friend who just happens to be a regular contributor to this thread.) Thanks for the visit and thanks for this group of recordings.




The ensemble is noted for its performances of Italian Baroque string music on period instruments. Banchini was one of the very best Baroque violinists performing at the end of the twentieth century, and the ensemble is at its best performing concerti featuring their director as soloist. Their performances of music such as Vivaldi, Corelli, Boccherini, Muffat, and Tartini offer an opportunity to hear less well-known Baroque repertoire by composers who were very well known during the eighteenth century.


I've been playing this set again in the practice.
It remains a very fine box, with terrific performances.
The sound is even good on a modest system.
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  #23357  
Old 04-19-2021, 04:19 PM
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Ralph Vaughan Williams - Symphonies Nos 4 & 6
London Symphony Orchestra, Sir Antonio Pappano
Qobuz 24/96




First listen to this new album.
The works are not very familiar to me, so I'll need more sessions to fully grasp this music.


Sir Antonio Pappano leads the London Symphony Orchestra in a pair of symphonies by Ralph Vaughan Williams that span the build-up and aftermath of the Second World War.
Throughout the Fourth Symphony Vaughan Williams channels tension and power through the music in amongst moments of light and clarity. It evokes a sense of hardship and persistence, perhaps suggesting the ever-present threat of war in the 1930s. Written in 1947, the composer's Sixth Symphony also seems to reflect the hardships and devastation wrought by World War II. Melancholic in some movements, ferocious in others. © LSO Live
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  #23358  
Old 04-19-2021, 05:06 PM
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Gidon Kremer / Kremerata Baltica
New Seasons


My first 5 star rating of the year.

Violin Concerto No. 2 "The American Four Seasons" by Philip Glass is simply amazing.

Tremendous power, clarity and simplicity.

Funny part is, All Music gave both

Ex contrario, for violin, cello, strings, keyboard (sampler), bass guitar and performance CD
Giya Kancheli

and

Yumeji's Theme (from the movie In the Mood for Love)
Shigeru Umebayashi

(presentations 3 and 4 on the CD) a highly recommended excellent track note.

So really, it's impossible to not find this a wonderful recording for all collections.
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Glass - Pärt - Kancheli - Umebayashi - New Seasons
Kremerata Baltica, Gidon Kremer
Qobuz 24/192




Special mix of works.
The Glass and Pärt pieces were well known to me.
The Kancheli and Umebayashi are discoveries.
This was a second listen.

The album got: '5 De Diapason' & 'Exceptional Sound Recording'

The New Seasons referred to in the title here are the so-called American Four Seasons, the Violin Concerto No. 2 of Philip Glass, which has even less of a connection to Vivaldi's model than do Astor Piazzolla's Buenos Aires Four Seasons and other works that take Vivaldi as a point of reference. The work is in eight sections, but which ones are supposed to represent which season is left up to the listener. It's really a typical but unusually effective example of late-period Glass, with the composer's usual textures intact but lots of harmonic motion. Part of the interest here lies in hearing Latvian violinist and conductor Gidon Kremer and his Kremerata Baltica, long champions of minimalism's Baltic branch, tackle a work by one of the leaders of Western minimalism. The American Four Seasons get a treatment that's a bit rougher than usual, but then Kremer turns around (after a Pärt girls' choir interlude) and delivers pristinely smooth, glassy textures in Giya Kancheli's Ex contrario. The program closes with a fascinating little melody by Japanese rock musician and film composer Shigeru Umebayashi, a daring and effective choice. This may not be to the taste of all Glass lovers, but it's an unusual minimalist selection, performed to the Kremerata Baltica's usual sterling standards.

© TiVo

Listening again.
Thanks to Ed, I got to know Glass better than I did before.
I'm thankful!

This is simply a marvellous album.
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  #23359  
Old 04-19-2021, 05:35 PM
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Last one for today:

Anna Gourari - Elusive Affinity
Qobuz 24/96




Yet another recommendation by "Stereo".
Intriguing.
I'll need a second listen to further evaluate.

“Water equals time and provides beauty with its double.”
Anna Gourari, a pianist with a completely individual naturalness and authority, chooses these words from Joseph Brodsky’s essay on Venice as epigraph to her third recording for ECM. Her programme is typically wide-ranging but tightly focussed, with exquisitely alive performances of slow movements by Bach framing a choice selection of pieces from our own time. A span of three centuries is thus traversed, with magical and moving ease. We find memories of Bach reappearing in the regularly repeating notes of diary entries for piano set down in 2002 by the senior Russian composer Rodion Shchedrin, in a work written for Gourari. And we find in the late Five Aphorisms by Alfred Schnittke strange and beautiful chords that seem to condense whole swathes of Bach’s harmony. This is the “Elusive Affinity” of which the album’s title speaks.
The two Bach slow movements are from his transcriptions of concertos by Antonio Vivaldi and Alessandro Marcello, arrangements in which he retraced these orchestral concertos for his own fingers, bringing to them an intimate privacy that Gourari also conveys throughout this recording. Vivaldi and Marcello were both Venetians, and Venice provides, by elusive affinity, the recording’s imaginary location. Photographs by Luca d’Agostino, reproduced in the booklet, follow Gourari through a Venetian archway, beside an ancient wall, on the edge of the lagoon. Water circulates in the city, enveloping past and present, old and new. So in our awareness, as we listen, Bach’s images of a Venice he never visited swim with others from nearer at hand.
These others remind us that Venice, the Mediterranean mirror-image of St. Petersburg, has long been important to Russian artists. Schnittke’s dark pieces sound like shadows cutting across sunlit paving, though there is wit in this music, too. Arvo Pärt, represented by a crucial but largely overlooked early example of his luminous style, evokes bell sounds common to both Venice and the Baltic. Also here are two haunting miniatures by Giya Kancheli and a sequence of memorials to friends by Wolfgang Rihm, where sombreness joins with light, in what is again a Venetian conjunction. © ECM Records

Revisiting this album.
Nor only intriguing, it's also beautiful.
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  #23360  
Old 04-20-2021, 03:09 PM
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This was playing into the practice today:

Antonio Vivaldi - Teatro alla moda - Violin Concertos
Gli Incogniti
Amandine Beyer

Qobuz 24/88.2




If you read the notes below, you'll realise it wasn't the best choice.

1720: in his famous pamphlet entitled ‘Fashionable Theatre’, the composer Marcello ironized the excesses of the new Venetian opera. This landmark pamphlet was published anonymously as Benedetto Marcello, under the fictional editorship of ‘Aldaviva Licante’ - undoubtedly an anagram of A. Vivaldi – ridiculing the operatic world of the time. It took on singers puffed up with pride, uneducated librettists, composers seeking dramatic effects, in short, everything that the musical world then thought about as original, unusual, new, experimental, shocking, weird, baroque, and, in a word, Italian! Vivaldi was one of Marcello’s favourite targets, continually lampooning the Red Priest and his virtuoso violin escapades. It is precisely these escapades that the violinist Amandine Beyer and the Gli Incogniti ensemble have chosen for their rich repertoire: detuned violin concertos (in the manner of Scordatura), violin ‘in tromba’, that is to say violin in a tone that betrays a scraped sound, not to mention more singular works in which Vivaldi leaves the soloist a freedom that gives real heart to the joy of improvisation. This is what really marks out Amandine Beyer, who performs in accordance with the habits of the composer, giving a clear, historical picture of her treatment of the ornaments. So, for the almost implausible Circus Maximus track, it is as if you were actually there, attending the Carnival of the year 1720! © SM/Qobuz
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