Record Review: non-BaL discs reviewed, etc.

[Bryn]

Strange comment this morning re. non-availability of Joshua Rifkin's version of BWV 216. Not only is it listed as being in stock at Tower, Japan, it was also included in the Bach Christmas marathon in 2005 on Radio 3. Some one has clear been doing their homework.

[vinteuil]

Strange comment this morning re. non-availability of Joshua Rifkin's version of BWV 216. Not only is it listed as being in stock at Tower, Japan, it was also included in the Bach Christmas marathon in 2005 on Radio 3. Some one has clear been doing their homework.

... well, a copy at over £21 only to be found on a Japanese site - it's not easily available as far as I can see. I certainly couldn't find it using my normal searching skills. I don't think his comment was all that strange.

If there were an easily-available copy at a more reasonable price I wd certainly want it!





.

[vinteuil]

... well, a copy at over £21 only to be found on a Japanese site - it's not easily available as far as I can see. I certainly couldn't find it using my normal searching skills. I don't think his comment was all that strange.

If there were an easily-available copy at a more reasonable price I wd certainly want it!





.

Meanwhile I am very much looking forward to getting this -

http://amzn.eu/9vMfFx4

[aeolium]

I could not agree with Andrew McGregor about the Rostropovitch/Britten live 1961 Aldeburgh recording of the Arpeggione sonata, an extract of which he played before today's BaL. He suggested that it displaced the Decca recording which they later made of this work, making the latter sound flat and lifeless by comparison. For me that recording is one of the great chamber music recordings of the last century. And the recording quality is superb, so that it brings out fully the wonderful quality of Britten's accompaniment, whereas the 1961 Aldeburgh recording rather obscured that, with the piano sounding somewhat in the background.

[zola]

I could not agree with Andrew McGregor about the Rostropovitch/Britten live 1961 Aldeburgh recording of the Arpeggione sonata, an extract of which he played before today's BaL. He suggested that it displaced the Decca recording which they later made of this work, making the latter sound flat and lifeless by comparison. For me that recording is one of the great chamber music recordings of the last century. And the recording quality is superb, so that it brings out fully the wonderful quality of Britten's accompaniment, whereas the 1961 Aldeburgh recording rather obscured that, with the piano sounding somewhat in the background.

I don't normally see the point in posting to say that I totally agree but in this instance, AMcG's comment was so far off the mark that I will break that rule. Perhaps because by coincidence I played the Decca recording as recently as Thursday coloured my view too.

[ferneyhoughgeliebte]

A very good discussion by Marina Frolova-Beethoven (with little nods of encouragement from AMcG) of two recent sets of recordings of the complete Scriabin Piano Sonatas this morning. Two very different sets of insights into the works by Peter Donohoe on SOMM, and Garrick Ohlssen on BRIDGE were illustrated. I want both - these are terrific works that I have only very recently returned to after many a year not listening to them - but I agreed that the Lancastrian pianist had something very special indeed to communicate from the works.

https://www.amazon.co.uk/Scriabin-Piano-Sonatas-Peter-Donohoe/dp/B01N8T7G7G

https://www.amazon.co.uk/dp/B01M2CR3JU

[Nick Armstrong]

A very good discussion by Marina Frolova-Beethoven (with little nods of encouragement from AMcG) of two recent sets of recordings of the complete Scriabin Piano Sonatas this morning. Two very different sets of insights into the works by Peter Donohoe on SOMM, and Garrick Ohlssen on BRIDGE were illustrated. I want both - these are terrific works that I have only very recently returned to after many a year not listening to them - but I agreed that the Lancastrian pianist had something very special indeed to communicate from the works.

https://www.amazon.co.uk/Scriabin-Piano-Sonatas-Peter-Donohoe/dp/B01N8T7G7G

https://www.amazon.co.uk/dp/B01M2CR3JU

I also got a lot out of this discussion, love Marina ! I do part company with Scriabin as his mid-period turns into his late period (both piano and orchestral works) - but his early stuff is right up my street. Fascinating to hear those transitions illustrated clearly in this discussion...

However, I would have welcomed some more direct comparative musical illustrations - they discussed the difference between the two pianists in various works and sections of works, but I don't think we ever had the same excerpt played by each so that we could hear a direct comparison.

I must say, I liked the crystalline clarity of Ohlsson's recording - at least as it came over on the bedside Pure DAB radio. Donohoe's playing was immense but the use of pedal plus recording quality seemed to give a much 'wetter' piano sound which appealed to me less.

[vinteuil]

"There is not much to see here," said I.
"Nor to hear, miss," returned Mr Vholes. "A little music does occasionally stray in; but we are not musical in the law, and soon eject it."

... perhaps someone should tell him that (at least, he has led us to believe) : he has left the Law now. He is a civilian...

[Nick Armstrong]

... perhaps someone should tell him that (at least, he has led us to believe) : he has left the Law now. He is a civilian...

Good point! Shame on me for not reviewing my "signature"...

Something more Calibanesque, perhaps?

[Ferretfancy]

I could not agree with Andrew McGregor about the Rostropovitch/Britten live 1961 Aldeburgh recording of the Arpeggione sonata, an extract of which he played before today's BaL. He suggested that it displaced the Decca recording which they later made of this work, making the latter sound flat and lifeless by comparison. For me that recording is one of the great chamber music recordings of the last century. And the recording quality is superb, so that it brings out fully the wonderful quality of Britten's accompaniment, whereas the 1961 Aldeburgh recording rather obscured that, with the piano sounding somewhat in the background.

I absolutely agree, but I have to say that I'm careful to arrange my listening carefully. The Arpeggione sonata is one of those pieces which can give you an earworm for days! Even reading about it starts my mental playback!

[ferneyhoughgeliebte]

I also got a lot out of this discussion, love Marina ! I do part company with Scriabin as his mid-period turns into his late period (both piano and orchestral works) - but his early stuff is right up my street. Fascinating to hear those transitions illustrated clearly in this discussion...

However, I would have welcomed some more direct comparative musical illustrations - they discussed the difference between the two pianists in various works and sections of works, but I don't think we ever had the same excerpt played by each so that we could hear a direct comparison.

I must say, I liked the crystalline clarity of Ohlsson's recording - at least as it came over on the bedside Pure DAB radio. Donohoe's playing was immense but the use of pedal plus recording quality seemed to give a much 'wetter' piano sound which appealed to me less.

I agree - the clarity of the voicing of Scriabin's chords was astonishing in Ohlsson's recordings: I do want both, but (bargain offers in shops excepted) it's the Donohoe set that I'm going to get first. And the timing of the sets' appearance seems spooky to me, coinciding with my starting to listen to this Music for the first time in nearly twenty years. You're right, though; a bar-on-bar comparison between the two was a missed opportunity - as well as some (if only brief) mention of how they compare with existing sets. But a smashing "article" even so.

[Darkbloom]

I was just listening to a discussion about the Karajan Ring reissue. Apparently, Jon Vickers was a lighter voice not usually associated with the heavier roles!! Every time I hear Nicholas Baragwanath open his mouth he ends up putting his foot in it.

[Bert Coules]

Every time I hear Nicholas Baragwanath open his mouth he ends up putting his foot in it.

His insistence on calling Karajan a smoothed-out foot-tapper and a "brand" did grate very quickly.

[underthecountertenor]

His insistence on calling Karajan a smoothed-out foot-tapper and a "brand" did grate very quickly.

...as did his pronunciation of Val Kyrie.

[Bert Coules]

Not to mention his curious choice of an extract to illustrate Christa Ludwig's superb Waltraute, which consisted largely of Helga Dernesch's Brünnhilde.