Thursday, October 30, 2014

New acquisition. Beethoven, Ludwig van. Piano Concerto No. 3 in C minor, opus 37, and piano sonatas.

New Acquisition.
Bought in October 2014.
First listen.
Label: Decca.
Box, with 3 cd's.
Price: 8,99 euros.
Recording dates: September 1987, (Concerto) April 1989, (Piano Sonatas.)
Recording venue: Walthamstow Assembly Hall, London, and Methuen Hall, USA.
Recording engineer: John Dunkerley.
Running time: 72:27.

Works performed:
Piano Concerto No. 3 in C minor, opus 37.
Piano sonata No 8 in C minor, opus 13, and No.17 in D minor, opus 31, No. 2.

Performed by:
Steven Lubin, Fortepiano.
The Academy of Ancient Music, Christopher Hogwood.

The engineer learned a very important thing when he recorded the first disc with the piano concertos No. 1 & 2, plus sonata No 14. That in the recording of the above works, he realized that he had to amplify the fortepiano a quarter higher as on disc 1, (hearing no doubt that a fortepiano does not have the loudness of a modern grand) and with good reason, for the works on cd 1 have almost no impact due to this engineering misjudgement. That is a pity, for one could say that although the performance is a good one, the almost non existent sound of the fortepiano lets you down. That said, things will brighten up considerably with the second disc. The fortepiano sounds fine now, with enough power to make an impact, and thus I find much to discover in authentic performing practice which I prefer over modern interpretations.. The orchestra earns the thumbs up too, for Hogwood gives us invigorating tunes, well paced and delivered with punch. Good brass too!  Now  I love Beethoven's piano sonatas, but must admit that although I like Lubin's take on them, he is a bit handicapped on the poetic side as not being able to deliver the goods unscatted. It is as if some of the notes do not come out right, or they are not there, at least not properly. Curiosity value it is, but it cannot as yet, replace the performances I have on a modern piano. It could be that the instrument Lubin is using is not one that can give more as it does. Anyways the price for them was a no brainer, so no harm done, I am happy I have them. 






New acquisition. British String Concertos. Disc 4. First listen

New acquisition.
Bought in October 2014.
First listen.
Label: Lyrita, Licensed to Wyastone Estate.
Box with 4 cd's.
The cd's in this box are CD-R and not real cd's.
Production years: 1978/1974/1982.
Recording venue and engineer: Not mentioned.

* CDR-R are not proper CD'S, they are in fact copies, and their lifespan seems to be very short. The company Wyastone does not think it necessary to inform the buying public of this. That unethical to say the least. I have send them an email and asked for clarification on this issue. Let’s see, if they answer it.

Works performed:

David Morgan. (1933-1988)
Concerto for Violin and Orchestra. (1966)
Erich Gruenberg, Violin.
Royal PO, Vernon Handley.
Production year: 1978.

Don Banks. (1923-1980)
Concerto for Violin and Orchestra. (1968)
Yfrah Neaman, Violin.
Royal PO, Norman del Mar.
Production year: 1974.

Alun Hoddinott. (1929-2008)
Nocturnes and Cadenzas for Cello and Orchestra, opus 62. (1969)
Moray Welsh, cello.
Philharmonia Orchestra, Charles Groves.
Production year: 1982.

David Morgan's Violin Concerto is well written, apart from some silly glissandos halfway the concert. Stretched tonality, but never overstepping the boundaries. Its a very technical work, and this is what you hear and may admire.  The expression of an idea or feelings you can recognize as such, may be difficult to find, but it's score that will satisfy you nevertheless, albeit be it purely because of the technical prowess of the writing for Violin and orchestra alike. I was surprised that I liked it very much.  He uses a large orchestra but puts it into force sparingly. The explanation behind the work from the composer I think is far fetched, so I tend to ignore the vague and forced info about that.
Don Banks is a totally different composer, and his melodies are more jarred and edgy, stepping over the lines to atonality, now and again. His tone is bleak, and his feelings are barren, there is no empathy or traces of warmth. Also a very technical work . His tone clusters carry incisive and penetrating brass chords. He also uses a big orchestra, and applies this force quite frequently. It is as if the Violin is defying the orchestra, so its almost a fighting match between two forces that want to make their mark regardless of the other. An interesting result though, I cannot deny that again I am intrigued by this work. No empathy lost here either.
As with the previous composers on this disc, I do not have any recordings of Hoddinott, so this is also a first. All composers have this technical approach in their traveling bag, so I tend to listen to them in this way, and from that standpoint I admire what Hoddinott has to offer. A composition that creates distance between work and listener. Its to be enjoyed from a distance, as watching a fine scenery in nature, but fails in putting emotions into this view. Well, well, tonal/atonality are shaking hands in this work, not into extremes but far enough to unsettle my equilibrium a bit. Its said that his works tend to be nocturnal, because this composer favours the night time for compositions and finds his creativity best fed in the dungeons of the darkness. I admire this work, but do not get warm feelings. The build is interesting, the result is a technical feat of some importance.
All three works get very good performances, and the sound is excellent.







Monteverdi, Claudio. The Complete Madrigal Books. CD 9. Ottavo Libro dei Madrigali, 1618. ( Madrigali Guerrieri et Amorosi) Second rerun.

Starting this morning with my favourite Madrigali.
See previous review.

First review of CD 9 Monteverdi Madrigali.



Wednesday, October 29, 2014

Telemann, Georg Philipp. (1681-1767) Fugues, Overtures, Preludes, and Suites. TWV 30-32 for Harpsichord and Organ. CD 1. Second rerun.

This box has become a firm favourite with me, so it is permissible to play it a second time so soon after the first run through.
I wholeheartedly recommend this inexpensive box.
See link first review, with all details.

First review of this Telemann box.



Monteverdi, Claudio. The Complete Madrigali. Settimo Libro Madrigali. 1619. (Concerto) Part 2. CD 8. Second rerun.

I will not do a write up on the set, for you all know that this is a wonderful recording, all 12 cd's of the box. There are some minor drawbacks, but not enough to spoil the fun.
See first review.

First review of this CD 8. Monteverdi. Madrigali.




Tuesday, October 28, 2014

New Acquisition. British String Concertos. Disc 3. First listen.

New acquisition.
Bought in October 2014.
First listen.
Label: Lyrita.
Box with 4 cd's.
Price: 19,99 euros.
Production years: 1972/1974/1982.
Venues and engineers: Not mentioned.
Running time: 79:10.

Works performed:

Roberto Gerhard. (1896-1970)
Violin Concerto. (1942-45)
Yfrah Neaman, Violin. (1923-2003)
BBC SO, Colin Davis. (1927-2013)
Production year: 1972.

Peter Racine Fricker. (1920-1990)
Concerto for Violin and small Orchestra, opus 11. (1950)
Yfrah Neaman, Violin. (1923-2003)
Royal PO, Norman del Mar. (1919-1994)
Production year: 1974.

Elizabeth Maconchy. (1907-1994)
Serenata Concertante for Violin and Orchestra. (1962)
Manoug Parikian, Violin. (1920-1987)
London SO, Vernon Handley. (1930-2008)
Production year: 1982.

Three composers which are not in my collection at all, so I guess this was a good way getting to know them. Quite modern composers, so I was a little afraid that things could go the wrong way, understandably so, for there was and still is a reason why not a single work of these composers is in my collection. But one must dare to go on untrodden paths, even if its only to conclude that you have to choose another road.
I have heard snippets of Roberto Gerhard, when he was recorded by the label Chandos, and at that time I had no interest in his modern idiom, and yet here it is, a Violin concerto. Gerhard is a composer that mixes his post romantic idiom with serialism and lush bi-tonality, maybe avoiding or transcending eclecticism, but I am not sure. I am forgetting for the sake of the argument that this should be a tribute to Arnold Schoenberg, a composer I heartily dislike, for that would be enough for me to avoid Gerhard. And I am surprised how much I actually liked it. Being apprehensive when the first movement started, soon enough I found myself immersed in the lush sound of the strings, and the music, stretched in tonality but hardly walking outside the lines. Into the beautiful second movement, beginning in Largo, and going over in Allegro placido,, a truly moving piece of music, with some fabulous writing for the solo Violin. Did not see that coming though! Gorgeous. The third movement is a mighty and moving close in all respects. Top notch. A fine performance and recording. I never heard of Yfrah Neaman, but he is an accomplish musician with a beautiful tone and excellent bowing technique.
Peter Racine Fricker was a totally unknown for me, never heard of the fellow. His composition is an economically sound piece of work, which favours the rational approach in combating or supporting emotions. It doesn't invite you to love the music, but more to admire the scenery without having a firm idea of what you actually see and hear. I admire it technical prowess, and his compositional skills, but I see,it at least for now as a efficient business like package with options. Tonal it is albeit stretched, but without really leaving the tonal chords. Very well played and recorded, it invites my curiosity.
Now Elizabeth Maconchy is a name that floated by once in a while, but I had no idea what to expect in terms of her compositions, so again I find myself confronted with a piece of music that baffles me a bit, not because of its modernity, that is well within tonal bounds, well most of the time, but because the music is hard to define, being a mix of all and at the same time of nothing. At times remnants of Mahler and Bruckner in mini format float by, nothing of consequence, but still remarkable, when not expected. The music is demanding, in terms of performance and for the listener to get involved. There are melodies that come from nothing, almost out of the mist, which enchant, and create an opening for yet another extraordinary exclamation of what is to come. All in all I was surprised and half delighted at all prospects, and dumbfounded by expectations that did not get their due attention. I like her music though, enough to explore more. An excellent performance and recording. Disc 3 already and so much joy, I am blessed, am I not?










New Acquirement. Britisch String Concertos. CD 2. First listen.

New acquisition.
Bought in 2014.
First listen.
Label: Lyrita.
Box with 4 cd's.
Booklet with minimal info.
Price: 19.99 euros.
Production years only: 2007/1979.
Venue and Engineers: Not mentioned.
Running time: 73:22.

Works performed:

William Busch. (1901-1945)
Cello Concerto. (1940-41)
Raphael Wallfisch, Cello.
Royal PO, Vernon Handley.
Production year: 2007.

E.J. Moeran. (1894-1950)
Concerto for Violin and Orchestra. (1941)
John Georgiadis, Violin.
London SO, Vernon Handley.
Production date: 1979.

Edmund Rubbra. (1901-1986)
Soliloquy for Cello and Orchestra, opus 57. (1947)
Rohan de Saram, Cello.
London SO, Vernon Handley.
Production year: 1979.

William Busch's Cello concerto is a romantic work, written in this idiom, it is an all embracing work, that has deeply moving melodies, and uplifting moments almost in the same movement. I have more of this composer in my collection also recorded by Lyrita, and despite he is not well known, they warranted him at least 3 cd's to make him known to the public. Their efforts were in vain. Sadly.
Wallfisch makes this a very successful project, his warm tone, and his committed playing makes you want to hear more of this composer. Very good sound.
When Moeran completed his Symphony in G minor, he immediately began to work on his Violin concerto. Completed in 1942 and premiered on 8 July of that same year, conducted by Henry Wood. I think that this is one of Moeran's finest achievements, but still this work has been grievously neglected. The composer was denied a commercial recording in his lifetime, and this version, released in 1979 constituted the work's debut on disc. And that is a bloody shame. For the work is a masterpiece. In three movements you get the whole gamut of emotions rolled over you like a warm blanket. A thoroughly late romantic work, in which he worked a lot of Irish folk melodies in the score, getting to the last movement, the emotional core of the Violin concerto. Its a poetic, rhapsodic, and deeply felt movement. Absolute top notch recording and performance.
Rubbra's Soliloquy for solo Cello with strings is one of his more poetic scores, again thoroughly rooted in the late romantic fashion, described as a meditation with flashes of interior drama, and so it is. Its well balanced and even in its expression, a very likably work indeed.
Superb recording and performance.  




New acquirement. British String Concertos. CD 1. First listen.

New acquisition.
Bought in October 2014.
First listen.
Label: Lyrita.
Box with 4 cd's.
Price 19,99 euros.
Recording/Production years: 2007/1993/1978/1970/1967.
Recording venue or engineer: Not mentioned.
Running time Disc 1: 76:48.

Works performed:
Samuel Coleridge Taylor. (1875-1912)
Violin Concerto in G minor, opus 80. (1912)
Lorraine McAslan, Violin.
London PO, Nicholas Braithwaite.
Production year: 2007.

Gustav Holst. (1874-1934)
Invocation, opus 19, No. 2. (1911) for Cello and Orchestra.
Alexander Baille, Cello.
London PO, David Atherton.
Production year: 1993.

Double Concerto for two Violins and Orchestra, opus 49. (1929)
Emmanuel Hurwitz & Kenneth Sillito, Violins.
English Chamber Orchestra, Imogen Holst.
Production year: 1970.

Lyric Movement for Viola and small Orchestra. (1933)
Cecil Aronowitz, Viola.
English Chamber Orchestra, Imogen Holst.
Production year: 1967.

Gerald Finzi. (1901-1956)
Introit for small Orchestra and solo Violin, opus 6.
Rodney Friend, Violin.
London PO, Adrian Boult.
Production year: 1978.

A box with many tasteful bonbons. Lyrita decided to put some long deleted music to disc again, and I am quite happy about that. Some of the things I already had, but most of them is new territory or different performances, which is good also, especially if it comes at such a small price. I am used to the fact that Lyrita delivers good and artistically sound performances. So on with it then.
The violin concerto by Samuel Coleridge Taylor I had already, coupled with Harrison, so I refer you to my review about that music. See link, Review violin concerto Samuel Coleridge Taylor. The rest of the works are more or less unknown territory for me. So here we go.
Three works of Gustav Holst from 1967/1970 & 1993. Soloist performing are more or less unknown to me. All three works by Gustav Holst are simply gorgeous. The Invocation is a lyrical and romantic work of great beauty and well performed by Alexander Baille, whose bowing is warm and detailed. Imogen Holst found it fitting to withhold this composition from the world because she had her doubts about its quality! O, dear! She clearly had less intricate knowledge as she thought she had, for even a beginner in classical music can hear what a fine work this is, well written too. Daughters messing around with their fathers compositions, that's never a good thing..
The Double Concerto for two Violins is a more modern work, with clear somewhat detached melodies, a bit rational even, where emotions are less sweet, but more of a mix to please both worlds, the one he left behind and the world to come. A fine piece though and well performed.
The third work by Holst is the last work he wrote, Lyric Movement. Totally unknown and uncared for, its nevertheless a work of great beauty, with some very concentrated effort to make it a single chord plucked in heaven. Cecil Aronowitz is a concentrated soloist here, and his viola sounds all embracing and warm. Magical, lyrical, poetic and one of Holst's best works.  A pity that Imogen Holst his daughter found it necessary to changed the score, just because she thought that it represented the ideas of her Father better as the original score he wrote. More recent recordings reinstated the work to its original status. And a good thing that is. The only thing I must do now, is to find a recording of the work as Holst intended it.
The sound of all recordings are up to scratch, detailed and balanced. All the performances have a high artistic measure.













On my order list as of today..............

I already have the British String Concertos of the same label. and since the British Piano concertos holds many unknown works, I jumped at them. Four Lyrita cd's for 17 euros. That not bad.
A box with Four cd's.





Bach, J.S. The Complete Organ Music, Volume 10. Second rerun.

As you all know, I rate this set very high, and this second rerun only confirms me more in my choice.
Bach on a wonderful Trost Organ.
See first review. Also pictures of the organ and technical info plus works played.

First review of this disc. Bach Organ works 10.






New acquisition. Bach, J.S. The Complete Cantatas. Volume 43, Leipzig 1725. First listen.

New acquisition.
Bought in October 2014.
First listen.
Label: BIS.
Box with 15 cd's. (All original booklets)
Recording dates: July 2008.
Recording venue: Kobe Shoin Women's University Chapel, Japan.
Recording engineer: Andreas Ruge.
Running time: 62:28.

Works performed:
Unser Mund sei voll Lachens, BWV 110.
Selig ist der Mann, BWV 57. ( Dialogus)
Susser Trost, mein Jesus kommt, BWV 151.

Performed by:
Hana Blazikova, Soprano.
Robin Blaze, Counter tenor.
Gerd Turk, Tenor.
Peter Kooij, Bass.
Bach Collegium Japan, Masaaki Suzuki.

A wonderful disc!  The duet in BWV 110 between Soprano and Bass "Ehre sei Gott in der Hohe und friede auf..". is riveting and so well sung, or the Soprano aria in BWV 57 "Ich wuensche mir den Tod, den Tod...."macaber this wish may be, the music is sung with great feeling, as with "Ich ende behande mein irdisches Leben" also for Soprano. The aria for soprano in BWV 151, "Susser Trost, mein Jesu kommt" is a 8 minute delight of singing excellence. The disc as a whole is very successful, and well recorded too.



Monday, October 27, 2014

New Acquisition. Telemann, Georg Philipp. Fugues, Overtures, Preludes and Suites. CD 5. First listen

Bought in October 2014.
First listen.
Label: Brilliant. (Original brilliant recordings)
Box with 5 cd's.
Recording dates:  August 2012.
Recording venue: Abbazia di Santa Maria delle Carceri,  Este, Padua, Italy.
Recording engineer: Fabio Framba.
Running time: 65:25.

Works performed:

TWV 32.
Ouverture in G TWV 32:13.
Suite in A, TWV 32:14. (Attr. to J.S. Bach, BWV 824)
Ouverture in A, TWV 32:15. 
Ouverture in A, TWV 32:16.
Suite in C, TWV 32:17.
Partia in A, TWV 32:18. (Attri. J.S. Bach, BWV 832)

Performed by:
Roberto Loreggian, on a Harpsichord copy after M. Mietke, Pergolis/Patella, 1998.

This is a very fine close of this box, that gave me more insight into the musical thinking of Telemann, realizing that he was actually a very good composer, no matter how many works he wrote. Whatever the occasion, Telemann wrote something for it, and never losing the ability, to put all his creativity into it, and make something extraordinary out of it. This is the close of the TWV 32 works, and all of them are fine examples of Telemann's art. Four of the works in A major, he seems to have something with this key.
The performances are absolutely top notch, but what else then excellent can we expect from Roberto Loreggian. The sound is pristine as is the Harpsichord.
Recommended. 








Monteverdi, Claudio. Settimo Libro dei Madrigali, 1619. ( Concerto) Disc 7. Second rerun.

I am going through this box a second time, and I am still enthusiastic about it, minus a few criticisms, but nothing is perfect in that respect.
See first review too.

First review cd 7. Monteverdi.


New acquisition. Beethoven, Ludwig van. Piano Concerto No. 2 in B flat minor, opus 19 & Piano Sonata No. 14 in C sharp minor, opus 27, No. 2. first listen.

Bought in October 2014.
First listen.
Label: Decca.
Box with 3 cd's.
Recording dates: Piano Concerto September 1987. Piano Sonata, April 1989.
Recording venue: Piano Concerto, Walthamstow Assembly Hall, London, Piano Sonata, Methuen Memorial Hall, Massachusetts.
Recording engineer: John Dunkerley.
Running time: 43:00.

Performed by:

Steve Lubin, Fortepiano.
The Academy of Ancient Music, Christopher Hogwood.

As with the first piano concerto, excellent performances, but with some minor criticism. The piano sonata however is butchered on this fortepiano. It does not come over my lips easily, but I consider it a dead duck. All the beautiful sonorities are lost on this instruments, not to mention the finer details. Beethoven was always frustrated about the pianos available, cramping his style considerably, which I understand. It should be played on a better instrument as the one Lubin plays on. And again, the lack of volume and power, and amplification kills the bird in flight. As a option interesting, but no real contender.
Sound is as good as John Dunkerley allows. He is a very good recording engineer.



  

New Acquisition. Beethoven, Ludwig van. Piano concert No. 1 in C major, opus 15. First listen.

Bought in October 2014.
First listen.
Label: Decca.
Box with 3 cd's.
Recording dates: September 1987.
Recording venue: Walthamstow Assembly Hall, London.
Recording engineer: John Dunkerley.
Running time: 33:28


Performed by:
Steven Lubin,  Fortepiano.
The Academy of Ancient Music, Christopher Hogwood.

The Beethoven Concertos with conductor Christopher Hogwood, who died recently, much too early.

Beethoven on authentic instruments is not a novelty anymore, and that it pays dividends to do it this way is clear from the start of this C major concerto. You must however attune your ears, for the Fortepiano is not a Steinway or a Bosendorfer, and consequently the volume it can produce is only half of what you are used too. And since this instrument is hardly amplified, you clearly get the impression of a undernourished fortepiano, and that means adapting! While the orchestra goes full blast, it sometimes drowns the Fortepiano, and so its details. You have to stretch your ears to follow all closely, and this is not always a good thing if you want to lie back and enjoy. Cannot be done here, you must be alert, very much so. If you only take the orchestra, well, it sounds scintillatingly alive, it has power, and a certain rawness in the brass, that tickles your fancy many a time.  Tempi are very good, its literally bursting with energy, just dive into the first movement, glorious. I would however liked a bit more amplification for the pianoforte, it would have balanced the overall sound in an evenly way. But nevertheless I enjoyed it immensely, this is Beethoven as I like to hear it. Lubin is a sensitive artist that has real poetry in his hands, and gives this performance the stamp of authenticity. Its not far from what Beethoven must have heard, or imagined as far as his hearing would let him.
Sound is excellent.





New Acquisition. Bach, J.S. The Complete Cantatas, Volume 42. First listen.

Bought in October, 2014.
First listen.
Label: BIS.
Box with 15 cd's.
Every cd has it own original booklet.
Recording dates: February 2008.
Recording venue: Kobe Shoin Women's University Chapel, Japan.
Recording engineer: Matthias Spitzbarth.
Running time: 75:24.

Works performed:
Alles nur nach Gottes Willen, BWV 72.
Liebster Jesu, mein Verlangen, BWV 32. (Concerto in Dialogo)
Meine Seufzer, meine Tranen, BWV 13. (Concerto da Chiesa)
Herr Gott, dich Loben wir, BWV 16.

Performed by:
Rachel Nicholls, Soprano.
Robin Blaze, Counter tenor.
Gerd Turk, Tenor.
Peter Kooij, Bass.
Bach Collegium Japan, Masaaki Suzuki.

A highly successful volume with four beautiful cantatas on it, meticulously performed in what I perceive as pristine interpretations. The Christian background of Suzuki, absolutely enriches the music. These musicians really understand what they are singing, are aware of what is told. And that is the prime quality of this set. Soloists are all on a high level. I like Rachel Nicholls voice quite a bit, never false vibrato, and a voice that has a ringing to it, like heavenly bells. The duet between Bass and soprano in BWV 32, Nun verschwinden alle Plagen,  is beautiful. I must say that it does my soul good to listen to Bach cantatas again, it really does.
Fine recording.


Telemann, Georg Philipp. (1681-1767) The Telemann Edition. (Archiv) CD 10. Second rerun.

Well after the second run through, I have a fair idea about quality and musical intent. This set will henceforth act as a reference recording if it comes to Telemann. This much have I been impressed with this set, that gave me so much joy. I have however to move on, for there are many cd's waiting to be listen too, and I feel a sort of urgency about this. So it will go into my collection, until next time I feel inclined to get it out again.
This set is very much recommended.
See first review of this disc.

First review of CD 10.



New Acquisition. Bach, J.S. The Complete Cantatas. Volume 41. First listen.

Bought in October 2014.
First listen.
Label: BIS
Box with 15 cd's. All cd's have the original booklet, with full info.
Recording dates: September 2007.
Recording venue: Kobe Shoin Women's University Chapel, Japan.
Recording engineers: Hans Kipfer, Andreas Ruge.
Running time: 64:04.

Works performed:

Ich will denn Kreuzstab gerne tragen. BWV 56.
Ich habe Genug, BWV 82. (Soprano version in E minor)
Der Friede sei mit dir, BWV 158.
Ich bin vergnugt mit meinen Glucke, BWV 84.

Performed by:
Carolyn Sampson, Hana Blazikova, Soprano's.
Hiroya Aoki, Robin Blaze, Altos.
Yusuke Fujii, Gerd Turk, Tenors.
Peter Kooij, Bass.
Bach Collegium Japan, Masaaki Suzuki.

This box is the last in a series and closes off the complete Cantatas cycle recorded by these forces. For me there never has been a better interpretation as the ones made under Suzuki. And yes occasionally there have been disappointments. I am not as a rule really happy with Robin Blaze. He has a good voice but he can never replace the alto they begun this series with, ( Mera), for he had a unique voice that he squandered by only singing silly pop music. I had a email correspondence with Robert von Bahr about him, and he told me that they tried everything just to keep him in this project, but such was his deluded ego, that he turn away from Bach. Not all sopranos in the series are as good as the ones they started with, but always perfectly acceptable. Anyway the last box. The first 5 volumes of this box I had already. Its a satisfying re-acquaintance. 
Ich habe genug sung by Carolyn Sampson is done without too much vibrato, but for me its clear that she does not have the purity in her voice which I like so much, but her diction is clear, and she behaves on the whole. The Aria Schlummert ein, ihr matten Augen, is beautifully sung, this is the finest part of this Cantata. Hana Blazikova has but a small part in Der Friede sei mit dir, but I like her voice. Peter Kooij as always is a reliable Bass.
The recording is excellent.









Friday, October 24, 2014

New Acquirement. Kaminski, Heinrich. (1886-1946) The Complete Organ Works. First listen.

New acquirement.
Bought in October 2014.
First listen.
Label: Mitra.
Recording year only: 1991.
Recording venue: Christuskirche at Bochum, Germany.
Recording engineer: Michael Tramnitz.
Running time: 62:20.

Works performed:

Toccata over "Wie Schon leuchtet der Morgenstern"
Choral Sonata.
Drei Choralvorspiele,
1) Wir Glauben all an einen Gott.
2) Vater unser in Himmelreich.
3) Morgenglanz der Ewigkeit.
Andante in E flat minor.
Orgelchoral, "Meine Seele ist stille".
Toccata und Fuge.

Instrument:
Schuke-Organ, built in 1964 by The Berliner Orgelbauwerkstatt Karl Schuke.
(Normale Koppeln, Mechanische Traktur, Mechanisches Regierwerk)

Performed by:
Bernhard Buttmann.

(And yes we all had to laugh and made our jokes about the name, so its old news)

Some time ago I bought some Orchestral music by this composer and was mightily impressed, so much so that I searched for more music and there was, most of it OOP and for ridiculous prices on Amazon. The CD with Organ music was the only one for a normal price, and since it was extraordinary beautiful I bought it.
The Organ music I have in my collection, and that is a lot, is old music preferably before 1780, so this modern organ music CD is a first in my collection. Most of the modern stuff I cannot stand, let alone listen to. But Kaminski my friends is something else, his modern music is old, has its roots in old music, and can hardly be called new. It seems a paradox but really it is not. He did not produce a lot of music, but what came out of his hands is of remarkable quality, and he has no equal in this, so much is clear to me after listening to this fascinating disc. His musical bond with previous centuries is clear from the start. Bruno Walter and Fritz Busch, devoted a lot of time on Kaminski's music, and although the musical press published reviews to great acclaim of his compositions it remains a rare occasion to this day to hear one of his compositions in concert hall or recording. Maybe it has to do with the fact that you cannot define his music or place it somewhere in the time line. He never leaves the fundament of tonality. He is a sensitive and introverted artistic personality with his own unmistakable language. It was a wise choice that he steered well away from the Wiener Schule around Arnold Schoenberg. He would have been very unhappy there, and it would spoil the extraordinary quality of his music. This is the first time that all his organ works in all its integrity is presented in such impressive performances and you dive right into this composers very own world of sound, which has brought me in, stock and barrel.  I could say much about the music, but really, find a site where you can listen to samples, that will convey much quicker as my writings what is meant by Kaminsky's sound world. This is a fine organ, beautifully recorded, and the only one available. Buttmann is an excellent performer.
I am sold.






Monteverdi, Claudio. Sesto Libro dei Madrigali, 1614. Second Rerun.

A bath of loveliness and warmth, I feel embraced by this music. So well sung, and felt by all participants, this by the way you hear.
See previous review.

First review of this disc.




New Acquisition. Mann, Johann Gottfried Hendrik. (1858-1904) Orchestral Music. First listen.

New acquisition.
Bought in October 2014.
First listen.
Label: CPO.
Recording dates: August 2010.
Recording venue: Stadthalle Osnabruck, Germany.
Recording engineer: Stephan Reh.
Running time: 73:40.

Works performed:

Feest Preludium, for Orchestra, opus 95.
Concerto for Clarinet and Orchestra, in C minor, opus 90.
Concerto for Violin and Orchestra in D minor, opus 101.
Troisieme Suite in B flat major, opus 98.

Performed by:

Sebastian Manz, Clarinet.
Akiko Yamada, Violin.
Osnabrucker SO, Hermann Baumer.

If there is one composer totally forgotten after his death, meet Johann Gottfried Hendrik Mann. Mind you that has nothing to do with the quality of his music, but more with the morons that people the concert halls, and could not distinguish between circus music and quality compositions, much as it is these days actually. I must admit that I was blown away by what I heard and I mean that in the most literal sense. Again, meet the man that can stand next to Rontgen, yes that great he is. Take my word for it, the music on this disc is utterly fantastic. A romantic in heart and soul, he wrote with passion and convinced with sincerity. His is pure music, with a lucidity that pulls it out of the ordinary, and walks in big strides towards the pantheon of the beloved, the composers, that are singled out to shine well beyond mortal considerations. And my words are not even carrying enough weight to express the geniality of this master. If I have to single out a work that comes down like a ball of fire it must be the Troisieme Suite, that has all the trademarks to dazzle you out of countenance. Or the beautiful poetical Violin concerto, that has such sweet tones, that its like the nectar of ye Gods. The Feest preludium is a small wonder in well groomed notes, which was really popular in his days, but I doubt that people heard the real wonder behind this work. Its not only the prime melody but the second and third lines of dialogue that brings rewards beyond imagining.
And what better compliment than this recording, perfect in every way. The orchestra surprised me in their enthusiasm with which they approached Mann. Baumer puts his soul in the music, and that pays great dividends. 
What a great achievement. Could we please have more of this composer, with more than 400 opus numbers to his name? But "ach schreck", this music has been forgotten a second time. This recording was produced in 2010, and is sold at budget price. No more Mann after that.
Lets mourn.




New Acquisition. Malipiero, Gian Francesco. (1882-1973) Orchestral Works. First listen.

New Acquisition.
Bought in October 2014.
First listen.
Label: Naxos.
Recording dates: July 2013.
Recording venue: OSR Studios, Rome.
Recording engineer: Giuseppe Silvi.
Running time: 66:13.

Works performed:

Fantasie di Ogni Giorno. (Everyday Fantasies) 1953.
Passacaglias. (1952)*
Concerti. (1931)*
* World Premiere Recordings.

Performed by:

Orchestra Sinfonica di Roma, Francesco La Vecchia.

Malipiero is a remarkable composer with a very productive life, in which he composed profusely. I count his orchestral works as very important, and rank him as a precursor in style and musical approach of Alfredo Casella, who went further on the same path. And yes I know he  was born in 1883 and died in 1947, still in style he was more forward as Malipiero. He is a composer that holds my attention too, in many ways. And although David Gallagher's notes on Malipiero are very informative and concise, is does not quite spell out what Malipiero's music is all about.
In these works his musical influences are a bit roughed up  by the twelve tone technique. He made quite some use of the twelve semitones of the scale, sometimes within just twelve notes. That does not really bother me as much as I thought. Like I said it roughs things a bit up, but never in such an extent that it gets out of taste. It leaves us however with music that can enthrall in an instant, and shake your feathers at the same time. A composer that keeps you alert. His Everyday Fantasies, may have been just that, but the internal logic behind the everyday is very much on the foreground, not mere thoughts of the day, but well constructed, never mind that Malipiero states that he could write them down as he noted them down every single day. Nothing random about them, believe me. Fascinating wanderings he made every single day. The music is beautiful.
The Passacaglias are a tougher nut to crack, but in essence this work convinces too, in all its splendour and might. It is as he penned this down in one sweeping effort, such is the flow of the music.
But his absolute Piece de resistance must be the Concerti, a marvelous whirl of notes, as if you are in a roller coaster, speed, agility, splendidly caught by the adrenaline engendered, it charms the hell out of you, with a score that is absolutely unique among his compositions. The writing for winds takes literally your breath away, with the ear splitting bang on your head when the "Concerto di Tamburi" gets first place of honour. Tonal music, stretched a little, but not that much to bother anyone.
A very good performance, and ditto recording. Very much recommended.






New Acquisition. Telemann, Georg Philipp. (1681-1767) Works for Harpsichord. TWV 32, Second part. CD 4.First listen.

Bought in October 2014.
First listen.
Label: Brilliant. (Original recordings)
Jewelbox with 5 cd's.
Recording dates: August 2012.
Recording venue: Abbazia di Santa Maria delle Carceri, Este, Padua, Italy.
Recording engineer: Fabio Framba.
Running time: 73:26.

Works performed:
TWV 32
Partia in G. TWV 32.1
Ouverture a la Polonaise in D minor, TWV 32.2
Solo in C, TWV 32.3 & in F, TWV 32.4.
Overture in C, TWV 32.11.
Overture in A minor, TWV 32.12.

Performed by:
Roberto Loreggian on a Harpsichord after M. Mietke, Pergolis/Patella, 1998.

A very successful follow up of the first part of TWV 32. Telemann could not wish a more accomplished musician as Roberto Loreggian, who faithfully follows the score in such liveliness, that it is absolutely addictive to listen too. At the same time Loreggian puts in a contemplative note when needed, and so creates a good balance in these compositions. This box issued by Brilliant was overlooked when released by me, and others, for I saw within my periferic no mention at all of this release. And this should not be. For lovers of Telemann will find all what they wish for, excellent interpretations, subtile and pristine recording and an abundance of fine music. I recommend this inexpensive set, you get good value for your money.




Bach, J.S. The Complete Organ Works. CD 9, Second rerun.

Good morning all and everyone.
Steadily going on with this box for a second time, and enjoying it tremendously.
See previous review, and pictures of the three instruments.

First review of this cd.





Thursday, October 23, 2014

New acquirement. (Gifted CD) Chopin, Frederic. Waltzes & Impromptus. First listen.

New acquirement.
Gifted in October 2014.
First listen.
Recording year: 1963.
Recording venue:  Not mentioned,
Recording engineer: Paul Goodman.
Remastering engineer:Andreas Torkler.
Running time: 70:22.


Performed by:
Arthur Rubinstein.

I have nothing but praise for this recording. The performance is really good, and the recording sounds as it was recorded yesterday. You get what is  Rubinstein's trademark, lucidity, straightforward, no undue rubato, no sentimentality. The result is magical.
On another note, the complete box with his Chopin, has almost all CD'S remastered, apart from a few, and they do not sound good at all Why is this?





Mendelssohn. Concerto for Piano and Strings in A minor * Double Concerto for Piano, Violin and Orchestra in D minor. Second rerun.

As with the first time my admiration for this recording knows no bounds. I am very happy with these interpretations. The sound is also very good.
See previous review.

First review of this cd.



Bach, J.S. The Complete Organ Works. CD 8. Second rerun.

On the organ of my birth town, a fantastic instrument.
See previous review. You can see the pictures of the organ and lots of additional info.







Newly ordered. A interesting composer

I have already the Symphonies 2 & 5, so when I saw these releases for budget price I went for it.



Telemann, Georg Philipp. (1681-1767) Wind Concertos. The Telemann Edition. CD 9. Second rerun.

This cd is such a pushover, a real charmer, in which Telemann put quite some effort to please all. And in my book he succeeded to the letter. The first concerto on this disc is a marvelous introduction for its musical content and the perfection of performance. 
See first review.


The Telemann Edition (Archiv) first review cd 9, with details.



Wednesday, October 22, 2014

Monteverdi, Claudio. The Complete Madrigal Books. CD 5. Quinto Libro dei Madrigali, 1605. Second rerun.

Good wine does not need praise, good music speaks for itself. Great performances advertize by their quality. There are not that many choir/soloists that can produce what La Venexiana produce. Occasional mishaps in the form of  added soloists, that fall rather out of place, like Kiersti Odegaard or Gloria Banditelli notwithstanding, this is a set you cannot be without. And then reading the book written by Helmut Krausser called Melodies, the Madrigali by Gesualdo floated into being, just like that. Must listen to them soon. Anyways this is a good close of my listening day, my bed beckons. 

See first review of this disc.

Monteverdi, Madrigali, first review disc 5.







Beethoven, Ludwig van. (1770-1827) Piano Sonatas No 13, 14 & 15. Second rerun.

Pollini's playing style is growing on me, with small steps, but still. Believe it or not its my first cd on which Pollini plays. I always kept my distance at him. No rational reason here, but more an emotional one. At times I feel he is a show off, virtuosity for virtuosity sake. It goes against my grain, when music takes second place, especially in Beethoven's piano music. Now this is not always the case, but sporadically it pops up, especially in the forte passages like in the second movement of No. 13, the attacca is at times too much of the good thing, being small explosions. But as before I acknowledge his artistry, and for the sake of that I filter out of this performance what irks me, and concentrate on the more poetic expressions which Pollini also shows in abundance.
See first review too.

First review of this disc.



Telemann, Georg Philipp. (1681-1767) The Telemann Edition (Archiv) CD 8, Chamber Concerts. Second rerun.

I am nearing the end of the second rerun of this set of 10 cd's, and its still an absolute joy to listen to these performances.  As far as interpretations go, this box is at the absolute top.
See previous review.

First review of CD 8. The Telemann Edition. (Archiv)



The Mahamevnawa Buddhist Monastery Sri Lanka

GLASS KANCHELI TÜÜR Andrea Cortesi & Marco Venturi

Ghizzolo, Giovanni. (c.1580-c.1625) Il Secondo Libro de Madrigali (1614) Second rerun.

I am quite enamoured by this music and performance. It such beautiful music, and such well written Madrigali, that I know this is one of my top 10 cd's I bought this year. I heartily recommend this CD. 
See first review.

First review, Giovanni Ghizzolo, Madrigali (1614)



Schubert, Franz. (1797-1828) Piano Sonatas D. 959 & 960. Second rerun.

I have a lot of respect for Paul Lewis as a musician. I heard Beethoven sonatas before from him, and was surprised by his sensitive approach, sometimes barely touching the keys. His ways are magical, and clearcut. His pianissimo is legendary, and his fortes convincing, yet never overbearing. His argument is always straight at the heart of the music. His playing tells of great integrity, and thus creating a pure music event to listen at. Very good this!
Sound is crystal clear.
See first review.

First review, Paul Lewis plays Schubert



Mahler, Gustav. (1860-1911) Symphony No 1. Second rerun.

Well I must admit it, this performance has its lures. Second time around, I can hear the validity of this interpretation, although you will find a totally different Mahler in the hands of Alsop, as you might have heard before. A softcore Mahler that brings out accents and colours previously unknown to me. And again the soundstage is fantastic. Maybe I should be on the lookout for more Mahler by Alsop.


First review of Mahler's first Symphony



Some new things that will be ordered soon, Including some serialists, a first, I might add!


Glass, Kancheli and Tuur, good performances. I was drawn to this cd by the Georgian composer Kancheli, whom I admire very much.




And this Strauss box, that came at a very low price, with pretty good performances.

Mozart, Wolfgang Amadeus. Symphonies No. 35/36/38/39/40/41. Second rerun.

Second time around they stay high in my appreciation.  No. 35/36 & 38 are the highlights of this set. All the tempi are right, and details meticulously observed. No 39/40/41 are well played in themselves, but not all movements are as crisply played as in the first works. And this rather surprised me. Why mellow the allegros and Prestos? The first movement Allegro vivace & the last movement Molto allegro of 41 are spot on, fast and furious. All in all I am impressed.
Good sound considering the age of the recordings. I will return to them at least once more.
See first review for more details.

Mozart Symphonies, Berliner Philharmoniker, Karl Bohm. First review disc 1 & 2.







Monteverdi, Claudio. The Complete Madrigal Books. CD 4. Quarto Libro dei Madrigali, 1603. Second rerun.

Its a pleasure to go through this fabulous set again. One of the top interpretations of the complete Madrigali.
See first review of cd 4.



Monteverdi, The complete Madrigal Books, first review disc 4.



New acquisition. Telemann, Georg Philipp. (1681-1767) 6 Ouvertures nebst zween Folgesatzen (From the Suites for Harpsichord TWV 32) CD 3.

New acquisition.
Bought in October 2014.
First listen.
Label: Brilliant. (Original recordings)
Recording dates: August 2012.
Recording venue: Abbazia di Santa Maria delle Carceri, Este, Padua, Italy.
Recording engineer: Fabio Framba.
Running time: 64:20.

Performed by:
Roberto Loreggian.

Instrument used:
Copy after M. Mietke, Pergolis/Patella, 1998.

I can keep on a positive smile, from this box has strong and convincing performances throughout. Loreggian plays in a lively way, as Telemann would have liked very much, for he was the man to do the same according to the stories told about him. Every one of these overtures is a virtual joy. The melodic content is all harmony and balance, and not a dull note amongst them. They estimate that Telemann wrote about 400 overtures which is a dazzling figure anytime. Only a quarter of them survived alas. TWV 32 was published in Nuremberg around 1742, and 16 of them are recorded in this set on the following 2 cd's.  There is more diversity found here as say in Handel's keyboard suites. Variety is the name and game of Telemann in these works. Well performed, and certainly beautifully recorded. Recommended.





New Acquisition. Telemann, Georg Philipp. (1681-1767) 48 Chorale Preludes. CD 2, First listen.

Bought in October 2014.
New acquisition.
First listen.
Label: Brilliant. (Original recordings)
Recording dates: August 2012.
Recording venue: Sant'Antonio Abate, Church, Padua, Italy.
Recording engineer: Fabio Framba.
Running time: 71:58.

Works performed:
TWV 31.
48 Chorale Preludes.

Instrument used:
Zanin Organ 2007.

Performed by:
Roberto Loreggian.

I closed last evening with this CD, but was so tired that I did not write the review, so now in the early morning I am fit enough after sleeping through one of the worst storms this year so far.
These 48 Chorale by Telemann are works of genius, there is no doubt in my mind about that. They can be played on the organ or harpsichord, but I prefer the organ any time, for they gain a far deeper impact with this mighty instrument. The Zanin organ often used in recordings with Brilliant, is an apt instrument to bring out all the colours Telemann has to offer, and that are quite a few. I fell from amazement in delirious admiration,  for every chorale is a wonder in itself. It's no surprise that Telemann was far more famous as Bach ever was, for his works are easy to approach without sacrificing quality of composition. Bach needs more intellectual minds to fully appreciate what he has on offer, which is a good thing too. But lets never underestimate Telemann, for he is as great a master as Bach. The sound is fantastic and the performance by Loreggian leaves no wishes open.





Tuesday, October 21, 2014

Telemann, Georg Philipp. (1681-1767) The Archiv Edition, CD 7, Concertos for Strings. Second rerun.

Its sheer delight to return to these recordings. This is amongst the best Telemann I have in my collection. See first review for details.

The Telemann Edition. (Archiv) first review CD 7.



Handel, Frideric. Trio Sonatas, opus 2 & 5. Second rerun.

These performances grow on me, and I liked them even better as the first time around. They have a authority that is insisting in its validity. See previous reviews.

First review Handel, Trio sonatas opus 2.

First review Handel, Trio sonatas opus 5.




New Acquisition. Telemann, Georg Philipp. (1681-1767) Fugues, Overtures, Preludes and Suites for Organ, and Harpsichord. CD 1. First listen.

Bought in October 2014.
New Acquisition.
First listen.
Label: Brilliant. (Original recordings)
Jewel Box with 5 cd's.
Recording dates: July 2012.
Recording venue: Abbazia di Santa Maria delle Carceri, Este, Padua, Italy.
Recording engineer: Fabio Framba.
CD 1.
Running time: 52:01.

Works performed:
TWV 30
Fugues legeres et petits jeux a clavessin seul.
20 kleine Fugen, for Organ.

Instrument used: 
Harpsichord copy after M. Mietke, Pergolis/Patella. 1998.
Truheorgan by L. Patella, 1998.

Performed by: 
Roberto Loreggian.

This box I somehow missed when it was released, and only by looking through the list of Telemann's recordings on a website, this came up to my great surprise. I am a great admirer of Loreggians artistry, hence the many recordings I have already done by him. A good thing that he is a freelance musician, who is not beneath the challenge to record for Brilliant too. At the same time Brilliant might be proud to have him in their stable, albeit temporarily.
This is quite an extensive survey if it comes to Telemann's output for keyboards. And by the sound of it, and the quality of the performance this might prove yet another success for Loreggian and Brilliant alike.
TWC 30 comprises the works above. I knew the 20 Kleine Fuges, but the Fugues legeres were unknown to me. Lively performances, with pinpoint accuracy, and a keen sensitivity to the many filigree details. Loreggian is never overstating to music, but lets things go as they are, without meddling with additions not appropriate. If this indicates the quality of the following  four disc, we are in for a treat.
The sound is intimate with no undue echo, a fine ambiance in which the excellent harpsichord copy after Mietke sounds fabulous. And the Truheorgan is a marvel in sound too. Recommended.






New Acquisition. Ghizzolo, Giovanni. (c.1580-1625) Il Secondo Libro de Madrigali. First listen.

Bought in October 2014.
New acquisition.
First listen.
Label: Brilliant. (Original recording)
Recording dates:September 2013.
Recording venue: Chiesa di San Bartolomeo, Sondrio, Italy.
Recording engineer: Silvano Landonio.
Running time: 60:48.

Works performed:
Il Secondo Libro de Madrigali, for five and six voices, 1614.

Performed by: Fantazyas, (Vocal and instrumental) Roberto Balconi.

O, dear, another resounding success for the label Brilliant. First of all this ensemble born in 2000, is a perfect vocal ensemble. There is a internal balance in this choir that sets them right away at the very top. Meaning you get first rate performances. Secondly these Madrigali can stand on the same level as Monteverdi or d'India. They are very beautiful and get a pristine recording. All parameters for success are set. So why do we not know this composer who was a Franciscan monk and came from the region of Brescia, and traveled between the provinces of Rich Northern Italy at the beginning of the 17th century. A talented composer and a successful courtier, so the booklet says. Anyway this is the perfect chance to hear this obscure composer. So you should not deny yourself this recording, for I think its the ultimate you can get in performance, interpretation and recording. Sadly though the texts are only provided in Italian. Clearly Brilliant thinks that we all should be able to read this language. A slight omission, which should not keep you away from it. The booklet gives a lot of useful info about his living conditions.
More of this please.








New Acquisition. Trabaci, Giovanni Maria. (c.1575-1647) Music for Organ and Harpsichord. First listen.

Bought in October 2014.
First listen.
Label: Brilliant. (Original recordings)
Jewel case, 2 cd's.
Recording dates: March & April 2014.
Recording venues: Church of Sant'Antonio, Salandra. (Materna) Italy, CD 1. Sala Levi, Palazzo Lanfranchi, Materna, Italy, CD 2.
Recording engineer: Luca Ricci.
Running time: CD 1, 56:44, & CD 2, 62:44.

Works performed:
From Ricerate, Canzone Franzese, Capricci....Libro primo. (Naples 1603) CD 1. (Organ
From Ricerate, e Altri varij, Capricci, libro secondo. (Naples 1615) CD 1. (Organ, and Choir*.)
From Ricerate, Canzone Franzese, Capricci....libro primo. (Naples, 1603) CD 2. 
(Harpsichord) 
From Ricerate e altri varij Capricci, libro secondo, (Naples 1615) (Harpsichord)

Performed by: 
Francesco Cera.
Polifonica Materana "Pierluigi da Palestrina", Carmine A. Catenazzo.

Instruments used:
Organ: Anonymous 1570.
Temperament: 1/4- comma meantone.
There is a 16' stop contrabassi which was silenced for this recording.
A=c.400 at 15 C.

Harpsichord: Roberto Livi, Pesaro, after anonymous, Naples, c. 1650.


Trabaci is not a name that rings a bell immediately, but throughout his life he was a very important and influential composer. He belongs of course to the Neapolitan school of the early 1600s. His talent and immense creativity was discovered early in his life, and in his first steps towards his style, the Flemish composer Giovanni de Macque played a central role. Frescobaldi must have been an important influence too, for the free flowing method of  Trabaci's composing bears witness of it, especially the tendency to experiment with unusual, dissonant harmonies, which you find in abundance in Frescobaldi's work. And there are also traces of Trabaci in Frescobaldi's work so he must have been aware of this composer since 1615 onwards.. The works on this CD brought him great fame, and after listening to them I readily understand. His works have a beauty which is quite extraordinary, and in a style which I did not encounter that often. And what a marvelous counterpoint, which gives the music a depth and liveliness that takes your breath away at times. Trabaci moved away from the Renaissance (Concept of perfect harmony) into the expressiveness of the Baroque. This crossover is fascinating. 
As to the instruments: Its a 16th century organ, probably Neapolitan in design, with a date on the facade of 1570. There were some 18th century additions but the 16th century pipes were maintained, so we have a organ that must have sounded as Trabaci heard it. All the instruments Trabaci knew from his days were either destroyed or altered beyond recognition. It is highly likely that Trabaci played on the Salandra organ. It has a fine  distinctive sound.
The Harpsichord sounds authoritative detailed and warm.
The Brilliant recording is a resounding success.





Monday, October 20, 2014

Rodrigo, Joaquin. Chamber music CD 8. The JR edition. First listen.

Bought in September 2014.
First listen.
Label: Brilliant, this cd licensed from CPO.
Recording year: 1989.
No info further than recording year.
Running time: 55:14.

Works performed:
Dos esbozos, opus 1.
Rumanaiana.
Capriccio para Violin solo.
Set cancons valencianes.
Sonata Pimpante.

Performed by:
Agustin Leon Ara. Violin.
Eugene de Canck, Piano.

As with CD 7 you get some excellent chamber music from this master of colour. None of it I heard before. So its all a new discovery, and through it my admiration gets deeper all the time. He has a particular mix of romantic and modernist writing in all his music, which makes it a surprise ride. Again unmistakable Rodrigo, you never doubt what you hear, and so much creativity and passion in it, that I am heartily glad I bought this box. Good sound too!
Unfortunately this disc is faulty. The music is accompanied by external noises that are definitely not part of the score. So I must write the supplier about this, and hopefully he can replace it by a good copy. This being a pricedown box, I doubt that they will be able to do this. Brilliant is getting it out of their catalogue, and will not reprint it. And I doubt also that this is a fault only in my disc. But I will try.


Telemann, Georg Philipp. (1681-1767) A Portrait. CD 5. Works for Alto recorder and BC.

New acquisition. Date of purchase: October 2017. First listen: 18-12-2017. Label: Ricercar. CD 5 from 7. Recording dates: October 1996 ...