Wednesday, February 25, 2015

Tedesco, Mario Castelnuovo. Works for Violin and Orchestra. Second rerun.

And again in this case I must modify my first review a bit. Tedesco's music is not going to shock the world into admiration, but he makes pretty music, be it unmemorable at times. There are many nice melodies, but they have a short life span, and thats the reason they do not stay after hearing the music. In essence that is not a problem, many composers have given me this situation. So this said, Tedesco is a composer with a multi layered structure in his music, and one must be attentive of all those layers, before the picture gets complete. I did that this time and the results are sometimes surprising, especially in the second Violin concerto. Not music that is likely to impress, but with enough content to please, if nothing else. I think that covers my update on the first review.
See first review.

First review of this disc.




Flemish Rhapsodies. Second rerun.

I played this CD a little bit louder on my system, and took more time to listen to the secondary and third melody lines, which are essential to catch, for it will connect the music is such a way, that one's understanding of what is going on is profoundly shown by this method of listening. So my opinion of the music has changed a bit in favour of these Rhapsodies, as in my first review of them. I was I think too careless in waving these works off as secondary material. They are not. What I want to say is that the music is well worth hearing, not top material, but nice and entertaining, in reasonable sound, albeit I am still of the opinion that in better hands, the music would rise even higher.
See previous review.

First review of the Flemish Rhapsodies.



Gal, Hans. The Four Symphonies. Second rerun, complete.

I wanted to play all four symphonies in one go, just to get a better sense of structural similarities between the compositions, because I was and am still rather confused what to make of it. First of all, it was very useful to approach the works in this way, because it did let me hear the differences and similarities. Every single Symphony has its own logic, and in musical matters only the first two symphonies have the same structure, though Gal handles its musical content in such a way, that there is no overlap in ideas, but only in the mood department. Gal has created a musical style so very unique, that I am hard pressed to find a composer who could be named as an influence. To understand Gal's music, one must accept this fact. The first two symphonies are connected by mood as I said earlier on. So no wonder it is almost impossible to define this music, its a pointless exercise. The music however is absolutely pure in the working out of whatever Gal put into it. I never heard such music before, and I have listen to a lot of composers, as a classical omnivore. As for now the first two symphonies are starting to make sense to me, but I am not ready yet. The third symphony is still a mystery to me, so I have to listen more to it. The Fourth is eluding me as what to make of it, so that will take more time. Despite my misgivings it must be clear that I am pretty much impressed by Gal, and that my admiration grows with every note I hear. Furthermore I think the recording superb, and that must be said too. Its an ongoing quest, but a very interesting one.


First review of disc 1 of Gal's Symphonies
First review of disc 2 of Gal's Symphonies



Lubeck, Vincent. Organ Works. Second rerun.

Apart from the fine organ used in this recording, and the fact that it is a state of the art recording, and that it is played by a creative musician, Lubeck's fine compositions, all of this and more, makes this a desirable cd to have.
See previous review.

First review of Lubeck's organ works, plus full details.



Renaissance am Rhein, Motets, Songs, and Chansons from the 16th Century. Second rerun.

This is a delightful CD from Singer Pur, enjoyable to listen to, well sung and recorded, and the choice of all the works shows an inventive mind. Truly outstanding.
See previous review, for full details.

First review of this disc, including composers and works.





Tuesday, February 24, 2015

Music for compline. Tallis, Byrd, Sheppard, White, Aston. Second rerun.

Its a amazing disc, which fulfill every possible wish I could have in regard to choir singing. It is true that they can engender quite some volume with four women in the choir, but it never gets out of hand. The voices of Sopranos stay clean,  no matter how loud they sing. The spiritual weight of these performance is considerable, and I keep my ears and eyes open to Stile Antico.
See previous review.


First review with all details of Music for Compline.




Some things are on their way to me, amongst a CD of which I had no image, so here it is................

Organ concerti.





Gallagher, Jack. (Born 1947) Orchestral Works. Second rerun.

This gets better with every hearing. He is not just another modern composer, but one that has actually a lot to say. Impressive works, well performed and recorded. Needs a bit more volume as normal, but the sound is fantastic.
See previous review.

First review of the fantastic composer...




New acquisition. Willaert, Adrian. Musica Nova. The Motets. Disc 3.

New acquisition.
Bought in February 2015.
First listen.
Label: Oehms.
Box with 3 cd's.
Booklet added is excellent.
Recording dates:June/July 2011.
Recording venue: St. Vitus, Bezirksklinikum, Regensburg, Germany.
Recording engineer: Anton Billmayer
Running time Disc 3: 74:30.
Classical relevance: Essential recordings.

Works performed:
Third part of the Motets.

Performed by:
Singer Pur.

Well the last cd in this box, and I am utterly convinced of the quality and performance, and last but not least the recording. Its a long time that I so much enjoyed a choir as the members of Singer Pur.
Its somewhat of a miracle if all things work so well together at the same time. Choirs are always a critical point for me, being very selective in my likes and dislikes. After the sampling of many different things I was quite sure that I would not be disappointed, and I was not, despite the fact that I bought quite some recordings of them, and there is always the risk of buying a dead duck. I look forward to more discs of their hands, certainly when all goes so well as with the Motets. See for more info to both discs 1 & 2.


Review disc 1
Review disc 2.




Macque, Giovanni de. The Keyboard School at Gesualdo's court. Second rerun.

A remarkable production, which explains and tells the story of the music played and composed during the reign of Gesualdo. This is a disc that has an addictive effect on me.  Its gorgeous. 
See previous review with all details.

First review of this outstanding disc.

Fabio Antonio Falcone, approved of this review, he visited my blog, reading it, and 1+ it. That's good I guess. :)




Buxheimer Organ Book. (c. 1460) Second rerun.

Absolutely a highlight in my collection which I recently acquired. I think that every organ lover should has this particular recording in their collection.
See first review of this disc.

First review of the Buxheimer Organ Book, and all details.




New Acquisition. Hovhaness, Alan. (1911-2000) Orchestral Works.

New acquisition.
Bought in February 2015.
First listen.
Label: Naxos.
Recording dates: July 2013.
Recording venue: Dana Auditorium, Greensboro, NC.
Recording engineer: Evan Richey.
Running time: 55:48.
Classical relevance: For fans of Hovhaness music essential. Others might first want to sample.

Works performed:

Prelude and Quadruple Fugue, opus 128. (1936, rev. 1954)
Concerto for Soprano Saxophone and Strings, opus 344. (1980)
Symphony No. 48, "Vision of Andromeda", opus 355. (1982) * World premiere recording.

Performed by:
Greg Banaszak, Soprano saxophone.
Eastern Music Festival Orchestra, Gerard Schwarz.

I am a great admirer of Hovhaness music. Always was, always will be. So I was eagerly looking out for a new recording from a composer who always heard music in his head. In this he was blessed, for the endless stream of inspiring music is impressive to say the least. There is never any trace of duplication in his music. Always original and highly inventive with an unending stream of musical creativity. So I was really eager in listening to this cd, and it exceeded my expectation, for again we have music that stirs the soul.The Prelude is in my ears a masterwork, a mastery in counterpoint indeed! The Soprano saxophone is a fine instrument, still I do not care much about it in classical music. Furthermore it is written as high as possible for this instrument to mimic a coloratura soprano voice. Whether one likes that or not is a question of taste. I do not much care for it, but the music as a tone poem is ravishing, although I would deny the claim that it is the most romantic concert Hovhaness ever wrote. Textual hyperbole I call these statements. Vision of Andromeda is indeed a transcendent apotheosis. A work about this galaxy that draws so many fine music from this composer is a wonder as such. Its colourful, has a power that is off worldly, and is as the booklet says, a shimmering mass of colours. it is indeed transcendental. It is well performed and recorded. Another triumph in the ongoing series at Naxos.







New acquisition. Tedesco, Mario Castelnuovo. Concertos for Violin.

New acquisition.
Bought in February 2015.
First listen.
Label: Naxos.
Recording dates: November 2012.
Recording venue: Rolf Bohme Saal, Konzerthaus, Freiburg, Germany.
Recording engineer: Ute Hesse.
Running time: 63:05.
Classical relevance: Of mild interest.

Works performed:
Concerto Italiano for Violin and Orchestra, opus 31. (1924)* World premiere Recording.
Violin Concerto No. 2 "I Profeti", opus 66. (1931)

Performed by: 
Tianwa Yang, Violin.
SWR SO Baden Baden und Freiburg, Pieter Jelle de Boer.

As with all music by this composer, it's neither fish nor flesh. Pleasant enough music, but without real character. That does not mean its bad music, on the contrary, but it simply has no lasting impression.  Both concerto start well enough, but a promising idea soon sinks into general utterance of many beginnings but no real ending. It could go on for hours, and still you will not remember much. I noticed this already with both volumes of the Shakespeare Overtures, which I bought a few years ago, and concluded in my listening notes that it was rather boring. Again pleasant but of no real consequence. The prominent feature on this cd is of course Tianwa Yang, an upcoming and brilliant violinist, but even she cannot make much of Tedesco's music, be it that the time passes more quickly with her. The title of the Violin concerto I Profeti" eludes me in its meaning, I simply could not connect, Isaiah, Jeremiah and Elijah, as meaningful movements to this concerto. The Orchestra is not the best Germany has to offer, but together with de Boer deliver a solid statement, rather than an inspired one. The sound is good, but a bit lacklustre. Whether you want this or not is a question of how much you like this composer. I am a sucker for Violin concertos, and that was the main reason for me to buy this.



Monday, February 23, 2015

New Acquisition. Flemish Rhapsodies.

New Acquisition.
First listen.
Digi-pack.
Label: Talent.
Recording dates: 1992.
Recording venue: Concert Hall of the Belgian Radio and Television, Brussels.
Recording engineer: Jo Tavernier.
Running time: 60:20.
Classical relevance; Interesting to have, but not essential.

Works performed:

Flemish Rhapsodies by the following composers.

Michel Brusselmans. (1886-1960) FR, opus 32 (1931)
Maurice Schoemaker. (1890-1964) FR (1931)
Marinus de Jong. (1891-1984) FR. opus 34. (1935)
Jean Absil. (1893-1974) FR. opus 4. (1928)
Albert Roussel. (1869-1937) FR. opus 56. (1936)
August De Boeck. (1865-1937) Dahomeyan Rhapsody. (1893)

Performed by:
BRTN PO, Brussels, Alexander Rahbari.

This Monday morning a small packet with cd's came in, amongst this one. I must admit I have no high expectations when Alexander Rahbari is involved. What I have heard of him so far, and despite the praise he usually gets, I am of the opinion, that what he records often sounds anonymous.  He is a man of a wide spectrum of sound, and less a man to discover the finer details in a work. In this case with the Flemish Rhapsodies it is as I wrote. I think the match between him and this fine orchestra is not one I would sanction if it were up to me. But that's a personal opinion.
The composers on this disc, are more or less in balance with each other what the expression of the music concerns. Inventive and highly colourful compositions that had as a basis many folkloristic songs that were widely known to the people in that time. It is a token of their compositional strength, that they made from little much.  And in this sense I enjoyed them, as they are not widely recorded. The sound in the first two compositions is somewhat subdued and anonymous, which gets better in the rest of the music. Good sound without being extra ordinary and that goes for the music too. I am very content that at least I was able to buy this cd very cheaply, for this label is not a very active player on the market, and often the recordings are of a low quality as are the performances. Not really in this case. I can recommend this, but I urge you to listen carefully before buying, and buy it right away for its getting OOP. Just four euro's at JPC de.





Rontgen, Julius. Concertos for Cello and Orchestra, 1/2/3. Fourth rerun.

Well I said all about this disc in my first review, and I have nothing else to add to it really. Rontgen is one of my favourite composers.

First review, of this most excellent CD. Rontgen's Cello concerti



Saturday, February 21, 2015

From my collection (1996) Muffat, Georg. (1653-1704) Apparatus Musico Organisticus 1690. Part I & II.

From my collection.
Bought in 1997.
No dates mentioned when listen to.
Label: Naxos.
Two cd's.
Recording dates: September 1996.
Recording venues.: CD 1, Klosterneuburg Abbey, Austria. CD II, Zwettl, Collegiate Church, Austria.
Recording engineer: RMC Classical Music Inc. U.S.A.
Running time: CD 1 = 54:31. CD 2 = 58:47.
Classical relevance, The music is essential, but maybe not these interpretations.

Works Performed:
See heading.

Performed by:
Martin Haselbock.

CD 1. Johann Georg Freundt organ. Built between 1636-1642.
CD II, Johann Ignaz Egedacher organ, 1731.
(Coupling for Principal and Positive) Tutti. 
Unequal temperament a'= 465 Hz.

I took these recordings from my collection, for I wanted to compare these interpretations to the recently acquired Oehms recordings, on which Joseph Kelemen plays on the same organ as Martin Haselbock on disc one from Naxos. So an unique comparison of recording and the art of playing. Where Kelemen is using a Silbermann organ on disc two, Haselbock is using an Egedacher organ.
You find pictures from the Freundt organ in my review ( February 2015) of the same works done by Keleman.
The first thing I noticed was the recording quality, the Oehms recording let me hear much more detail of the smaller pipes, and the spatial separation between all pipes is by far superior to the Naxos recording. The Naxos recording tends to blur the sound a  bit, and the spatial separation is serviceable, but you will miss out many details. The playing style of Haselbock, is in part responsible for this. Lets begin with the Haselbock recording. My impression, and my musical companion is that is sounded anonymous, a somewhat old fashion approach, too much legato, and the volume he produced is tiring for the ears. Haselbock, makes a pomp and circumstance story of it, and the constant stress he adds with the pedals, the higher pipes are lost in this violence, and also the details to support the music as such. So I was not wiser after this interpretation. Its good on its own merits, but considering the newer recordings, this one must be counted to Sub top. It is not a Muffat I want to hear. Now the Kelemen is a different story, see my review of them.

CD 1 Muffat, Organ Music
CD 2 Muffat, Organ works.




Egedacher Organ, Zwettl.

Friday, February 20, 2015

Gouvy, Louis Theodore. Orchestral Works. Symphony No.4 and other Works. Third Rerun.

I always wonder about remarks from classical music lovers that Gouvy is a watered down Mendelssohn. If you are really knowledgeable about the music of Mendelssohn, and you listen carefully to Gouvy, you hear right away that there are melodic similarities, but thats about it. Taken Gouvy on its own, listening to how he constructs his music, will leave with most no doubt that he is an unique and far from boring composer. I am frequently amazed of how well his compositions work and sound. Not easily constructed compositions, but well scored pieces of genius. Under the expert hands of Mercier, this music turns into a feast. But that is only my humble opinion of course. Please try this music, the first four volumes are on budget price already.
See previous review of this disc.

The wonderful music of Gouvy, first review of this disc!




New Acquisition. Willaert, Adrian. (c.1490-1562) Musica Nova. The Motets, CD 2.

The second disc (74:25) in a serie of three, and as with the first its really very good. All what I said about the first recording goes without correction to the second disc. For me this performance is perfect in all respects. I have encountered many excellent choirs this year, and barely 2 months into this year, I expect much more. Willaert is now on top of my list, and I hope what there is left to record, Singer Pur will do it.
See review of the first cd with all the details.

See review of cd 1 for more details.



New Acquisition. Kuhnau-Zelenka-J.S. Bach. Magnificat.

New Acquisition.
Bought in January 2015.
First listen.
Label: BIS.
Box with 15 cd's. Original booklets added.
Recording dates of this cd: November/December 1998.
Recording venue: Kobe Shoin Women's University Chapel, Japan.
Recording engineer: Hans Kipfer.
Running time: 71:31.
Classical relevance: In my opinion there are far better performances, so I cannot recommend it.

Works performed:
Johann Kuhnau. (1660-1722)
Magnificat in C major.

Jan Dismas Zelenka. (1679-1745)
Magnificat in C major & D major.

J.S. Bach.
Magnificat in D major, BWV 243.

Performed by:
Miah Persson & Yukari Nonoshita, Sopranos.
Akira Tachikawa, Alto.
Gerd Turk, Tenor.
Chiyuki Urano, Bass.

Bach Collegium Japan, Masaaki Suzuki.

There are two things that come to the fore when listening to these magnificats. They do hamper my enjoyment in some measure. First you hear that this ensemble and soloists are still in a learning phase of how to perform music that is not akin to their culture, and the technique of performing in an authentic way. There is the obvious wrong choice of Persson as a soprano, she is simply acerbating the performance by egocentric singing. Too much Persson and too little of the composer's intention. Apart from that I do not like her somewhat shrill voice. Then the manner of singing of the choir, to fast and too loud. Its like a peloton of soldiers charging at full blast, noisy and not much respectful to the compositions at hand. The recording is good, apart from the fact that the choir does not sound really sophisticated, a bit rough and sharpish when singing loud.  Akira Tachikawa has as an Alto little expression and is sometimes as flat as a pancake. Yukari Nonoshita has a good voice, be it a little unsteady at times. But her voice is just right for these works. Now, when it comes to the result of all their effort, I have to say to my regret that these interpretations could not charm me. I find it to be rather matter of fact, too technical and almost logical to a T. I heard some warmth, mostly with the soloists, but I am afraid that this is a far cry from the Complete recording of the Bach cantates, which is excellent beyond measure. They obviously found their center in J.S Bach, but not in the Magnificat on this cd.
I cannot make more of it.




Weiss, Silvius Leopold, The Complete London Manuscripts. CD 4. Second rerun.

All three sonatas hold beautiful melodies, and they come easily out of Cardin's hands. Weiss knew how to score effect, by building small master pieces for the Lute.
See previous review, albeit short, for details.

The delightful Fourth CD of this set, first review, with details.






Thursday, February 19, 2015

Les Rois de Versailles. Robert de Visee & Germain Pinel. Lute music. Fourth rerun.

For the Fourth time I undergo the calmness of this recording. Lute music of this calibre has a serene effect on the senses, and this particular recording is extraordinary fine in that respect. A disc to have, hold and cherish.
See previous review.




Aulin, Tor, Swedish Dances, Dances from Gotland. Third rerun.

Tor Aulin is one of those composers that say it in a late romantic way, lighthearted, with a soft thread, but o, so much delicacy. Fine dances in the  tradition of Grieg, Stenhammar, Sibelius, Nielsen and many others. Delightful to listen too, and irresistible.  Do give yourself the pleasure of uplifting music.
See previous review.

First review of Aulin's delightful Swedish Dances. 




Berger, Wilhelm Peterson. (1867-1942) Violin Sonatas. Third rerun.

If you are in for a romantic trip, then by all means do not pass this disc. Its very inexpensive and packed full with goodies that will please your ears, and fire you intellectualism. This is high class sparkle, which invites you to indulge profusely. Not one bottle of bubbly but a casket full of them. Its one big sweep of tight embrace, sort of a hug in the perpetuum mobile. Treat yourself to it.
"Its not the greatest of assets, neither is it glamorous, but as a tool to bring people happiness nothing beats a warm musical embrace"
See previous review.

Previous review of Berger's Violin Sonatas.







Panufnik, Andrzej. Symphonic Works, Volume 6. Third rerun.

Its amazing how much this composer has a hold on me. A modern composer, who is able to write such beautiful sound clusters that at times I feel the heavens are opening, like with Anton Bruckner. Through  thundering timpani, and other clusters of percussion, out of ppp emerge violins with such a creative turn of melody, that one wonders how that came about. Truly amazing.
Please see first review of this disc for more details about the works and technical info.

First review of Panufnik Orchestral Works, Vol. 6



Weis, Silvius Leopold. The Complete London Manuscript. CD 3. Second rerun.

I am enjoying this set enormously.  So quickly I play this set for a second time!

See first review for details.

First review of Weiss, disc 3.



Wednesday, February 18, 2015

Vita de la Mia Vita, Ricercares, Dances, Madrigals, and Villanellas on Four Lutes.

Another beauty to top, which has gone largely unnoticed by classical music addicts, but is nevertheless a cd full with well composed music to gladden the heart. Its one of those recordings that pop up now and then, to challenge the resourcefulness of people going through the new releases. Will their eyes spot the gem that crowns the classical collection of anyone, or does he roam carelessly, not noticing riches when they pass right under his nose. Well it passed me, and I halted it, saying hola, what's this? Listening I could not believe my ears. I had to have it, and so do you, and you, and yes you too! Common people, this is an inexpensive disc which will make you rich in buying it. Don't disappoint me.....:)
See previous review.

The link to a CD you must have, go get it!


Graupner, Christoph. Concerti e Musica di Tavola. Second rerun.

Let me be very clear about this recording with the music by Graupner, its a stunner. So well performed and recorded, with such fine contributions of the soloists, and above all such gorgeous scoring, worthy of any challenge from fellow composers, he will stand firm and glorious. I would say despite the full price, this is a no brainer. 67 minutes of sheer delight.
See previous review, with all the details.

Graupner's excellence, just follow the link :)





From my collection. Buxtehude, Dietrich. (1637-1707) Organ Works, Volume 4.

From my collection.
Bought somewhere between 1986-1991.
Fourth complete listen.
Label: MDG. Box with 7 cd's.
Excellent booklets added.
Recording dates: December 1990.
Recording venues and cities:  Church of Noordbroek and the Aa-Church in Groningen, The Netherlands.
Engineers from the House of MDG.
Running time: 68:45.
Classical relevance: Essential without a doubt.

Works performed:
Organ in Noordbroek.

Praeludium in g, WV 149.
Wie schon leuchtet der Morgenstern, WV 223.
Canzonetta in C, WV 167.
Von Gott will ich nicht lassen, SW 220-221.
Mensch, willt du leben seliglich, WV 206.
Toccata in d, WV 155.
In Dulci Jubilo, WV 197.

Organ in Aa Church Groningen.

Praeludium in fis, WV 146.
Gelobet seist du, Jesu Christ, WV 189.
Canzona in g, WV 173.
Praeludium in E, WV 141.
Herr Christ der einig Gottes Sohn, WV 192.
Nun bitten wir den Heiligen Geist, WV 209.
Magnificat primi Toni, WV 203.

Performed by:
Harald Vogel.

Instruments:
Schnitger Organ, Noordbroek, (1699-1702) The Netherlands
Tremulant for the whole organ.
Pitch, 1/2 tone above normal, a'=460 Hz.
Tuning: Werckmeister.
Wind pressure: 80 mm/WS.

Schnitger Organ Aa Church Groningen (1700-1702), The Netherlands.
Tremulant, Pneumatic.
Pitch, gis'=446 Hz, at 10 degrees celsius.
Tuning: Meantone tuning.
Wind pressure: 76 mm/WS.


I know both organs well, was many times in these churches and heard the instruments. Both organs are extremely important in the North European Organ culture. And their sound is magnificent. The recording is a match to what I have heard live. Although the fact that both are Schnitger Organs, their sound is in many ways different. About both instruments and their history, you can find a lot of info on internet. I say this because this review would become almost a book of many pages, and thats not the object of what I write.
At the time of recording the Noordbroek instrument was still under restoration, and the pressure is not optimal, you can hear that occasionally, but in essence its still okay. The Aa organ is in optima forma on this recording. Buxtehude pur sang, you should have these recordings, they are a historic document. Harald's Vogel rendition is essential to any collection, for I doubt very much that performance wise it will ever be surpassed.  And as for the organs, well that speaks for itself.  The recording is first rate.







 Schnitger organ Noordbroek

Schnitger organ Aa Church Groningen


New Acquisition. Willaert, Adrian. (c.1490-1562) Musica Nova. The Motets. CD 1.

New Acquisition.
Bought in February 2015.
First listen.
CD 1.
Label: Oehms.
Big box with 3 cd's.
Excellent booklet added.
Recording date: June/July 2011.
Recording venue: St. Vitus, Bezirksklinikum Regensburg, Germany.
Recording engineer: Anton Billmayer.
Running time: CD. 1: 76:40.
Classical relevance: Essential recordings.

Works performed:
Huc me sidero-Pungetem capiti-De me solus amor.
Dilexi quoniam exaudiet-O, Domine libera.
Audite insulae-Et posuit.
Haec est domus Domine-Fundavit eam.
Verbum supernum prodiens-Se nascens dedit.
Confitebor tibi Domine-In quacumque die-Si ambulavero.
Te Deum Patrem ingenitum-Laus Deo Patri.
Beati pauperes spiritu-Beati qui persecutionem.
Sustinuimus pacem-Peccavimus cum patribus nostris.
Praeter rerum seriem-Virtus Sancti Spiritus.

Performed by: 
Singer Pue, and guest singers.

Well in one thing I can be very clear, its up the the level of the Petrarca Madrigals, evenly sung, with a bit more presence, and subsequent consistency in tempi and volume, but never out of line to disturb the flow of the narration. The recording is a bit more forward as the Petrarca recordings, which I regret. Its beefing up the volume at the wrong places, especially when some tenors are increasing their volume as in track 6 Confitebor..... Some guest singers are not fitting in that well into this choir.
But all things taken into consideration is admirably well done, and I am happy with this first disc from three.




The Lead Soprano in full flow, Claudia Reinhard, an absolute beauty in body and voice.

I am very happy about this release. Ordered.

Some time ago I bought a CD with Chamber music on the label Toccata,  Chamber music by Jadassohn  and was so impressed by this music, that I hoped they would release some day his Symphonies, fat chance I thought, but see the wonder, CPO picked it up.





And a image of a CD, I bought some time ago, without having a image to go with it. Here it is, a little belated. See the review of this disc. First review of the Graupner disc!



Fasch, Johann Friedrich. Trios & Sonatas. Second rerun.

An absolute pleasure this disc. Fasch is a composer that knows how to please his audience, by these seductive concerti. The writing is absolutely gorgeous, and the soloist add their considerable bit.
A very natural recording too.
See previous review.

First review of this cd. Fasch, Concerti.




Weiss, Silvius Leopold. The Complete London Manuscripts. CD 2. Second rerun.

Sonata No. 4 in G SW 5 belongs to my favourites. Weiss writes very energetically, and his creativity as to fine melodies knows no bounds. His style in playing these works is a constant joy. The Menuet in the C minor is a point in case, such elegance and yet a insistent lead melody that charms you out of your pants in an instant. Music to start the day with, every morning in your life.

See previous review:)




Tuesday, February 17, 2015

Berger, Wilhelm Georg. (1929-1993) Violin Concerto No. 1 and Symphony No. 4. Second rerun.

My, this gets better with every hearing. I simply love the soundscape he creates, and I get deeper into at before. I will be on the lookout for more of this composer, though he is unknown, unloved, and not cared for, like a Paddington Bear.
See my previous review.

First review of this disc.



New Acquisition. Willaert, Adrian. (c.1490-1562) Musica Nova. The Petrarca Madrigals. CD II.

New Acquisition.
Bought in February 2015.
First listen.
Label: Oehms. Digi-pack, 2 cd's.
Recording dates: January/March 2009.
Recording venue: Himmelfahrtskirche, Munich-Sendling, Germany.
Recording engineer: Marko Kaminsky & Thomas Schinko.
Running time: 64:12.
Classical relevance: Essential recordings.

Works performed:

Second part of the Petrarca Madrigals.

Works performed by:
Singer Pur.

Dare one say it? I think one should always be honest about whatever comes around to define. This set of 2 cd's with Willaert's Madrigals is utterly perfect. Not a blemish to be found. All is as a the popular phrase goes "Awesome". The balance, phrasing, dynamics, volume, rhythmic energy, articulation, the constant in the flow of music, plus the recording is in its total what every choir lover would want to hear.  Depth, just enough air around the voices, reverberation just right. So what else can I do as recommend this twofar?

See also review of the first cd.

First review of CD 1 of the Petrarca Madrigals.





New Acquisition. Muffat, Georg. Apparatus Musico Organisticus 1690. CD 2.

Since this is a follow up of the first disc, and my thoughts being the same hearing the second cd I refer you to the first review yesterday.

Review of disc 1 with all details.

Works performed:
Toccata Decima/undecima/duodecima et ultima.
Ciacona.
Passacaglia.
Nova Cyclopeias Harmonica.

A truly wonderful follow up of disc 1.




Weiss, Silvius Leopold. The Complete London Manuscripts. Second Rerun. CD 1.

An absolute joy, to listen again to this magnificent set, which I heartily recommend to anyone that loves Lute music at its very best.
See previous review of Disc 1.

Review CD 1, Weiss Lute Music.




Monday, February 16, 2015

New Acquisition. Muffat, Georg. (1653-1704) Apparatus Musico Organisticus, 1690. CD 1.

New acquisition.
Bought in February 2015.
First listen.
Label: Oehms. (SACD/Hybrid recording) 2 cd's.
Recording dates: October/November 2004.
Recording venues: Eglise Abbatiale  d' Ebersmunster, France & Augustiner Chorherrenstift Klosterneuburg, Austria.
Recording engineer: Thomas Schinko, Marko Kaminsky.
Running time: 64:29.
Classical relevance: Should be in your collection, this being a very good interpretation & recording.

CD1.
The Toccata's.

Performed by Joseph Kelemen.

Instruments used:

Freundt Organ 1642. Klosterneuburg.
Sliding coupler.
Short Octave.
Pitch a'=475 Hz.
Modified meantone temperament.

Silbermann Organ, 1732, Ebersmunster.
Sliding coupler GO/Pos.
Pitch a'=396 Hz.
Slightly unequal temperament.


This is extremely well done. The recording is sublime, and despite the somewhat odd choice for the Silbermann organ, the music comes out surprisingly well, considering the music's Italian influences. Kelemen captures the sound world created by Muffat in a very natural way, in that he carefully polishes all notes in a creative and colourful way. There is not one detail that escapes him, and he never brings in false effects, the glitter you hear is what Muffat wrote. I have only one minor criticism, in that the Toccata Prima has a slightly hurried tempo. Considering the melodic content, I do miss the notes having the time to unfold. But thats all, for me cd 1 is excellent. I will consider however to find an interpretation on an Italian Organ, for I think that will bring some extra rewards. State of the Art recording. 





 Freundt Organ
 Freundt Organ
Silbermann Organ


I saw two Audite CD'S for a budget price, and since I am quite fond of the Brothers Franck......

Added to 3 cd's from that same series already in my collection.




Saturday, February 14, 2015

Zarlino, Gioseffo. (1517-1590) Modulationes sex Vocum (1566)

This is the second time I play this cd, and it makes more of an impression as the first time. Maybe I am just in the right mood, and that this music simply needs that? Well, I think that the choir is very good, and somehow this recording gets better through my head as the first time, so I would say, this is pretty good.

See my first review too

First review of Modulationes sex vocum




Weiss. Silvius Leopold. The Complete London Manuscripts. CD 12.

From my collection.
Bought: January 2015.
First listen.
Label: Brilliant.
Licensed from: SNE Canada.
Recording year: 2004.
Recording city: Montreal.
Recording engineer: Gilles Poirier.
Running time: 71:36.
Classical relevance: Essential recordings.

Works Performed:
Concertos for Lute and Traverso Flute No. 2/3/4/5.

Works performed by:
Michel Cardin, Lute.
Christiane Laflamme, Baroque Flute.

I can say from this disc with Lute/Flute concertos, that they are nice, but not exceptional, and I tend to think that the combination of both instruments is not an ideal one to say the least. Neither do I think that Laflamme despite her surname is really that good a musician, for I find her playing sloppy and not precise, too much false wind escaping her mouth, and a tone far from ideal. She tends to overplay the lute by too much vibrato and loudness. I acknowledge the fine writing for Lute, but I am not charmed by the Flute.
The recording favours the flute, which was also a bad engineering decision. 
Still its in the box.





I consider this my last integral set of Bach's complete Organ music, unless.......

My last integral set, unless Christopher Herrick's Hyperion set is re-released, which I think is doubtful, or finally Ewald Kooimans ...