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Haydn 2032 Vol.7. Symphonies 67, 65 etc. Basle KO/Antonini. Alpha 24/88.2. New Release on Qobuz Studio. Still in medias res here, but I already think it’s one of the best in the series, with stunningly high-resolution 88.2khz sound reaching far, far back into a very sympathetic acoustic to bring out the tiniest details. Wonderfully alert, pert and expressive, with some great horn-playing. More space and body to the sound than on some earlier releases.
Looking forward to the c/w, Mozart Thamos Suite...
(photos in the booklet even more beautifully quirky and oblique than ever...)
Due for release on 15th March, the Riot Ensemble's recording for HCR of Music by Rebecca Saunders, Chaya Czernowin, Liza Lim, Anna Thorvaldsdottir, and Mirela Ivičević:
London’s Riot Ensemble present works by four of the most important composers in contemporary music today—Chaya Czernowin, Liza Lim, Rebecca Saunders, and Anna Thorvaldsdóttir—alongside rising star Mirela Ivičević, who was commissioned as part of the ensemble’s 2017 Call for Scores. Four of the works are recorded here f
... one for my shopping list.
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
Now playing: Luigi Nono, Prometeo a new double CD on Stradivarius, the third recording to be released so far if I'm not mistaken, and if I'm recalling the others accurately enough, not having heard either for a while, this one is the clearest and most spatially vivid version, free of the incidental noises which threaten to overcome the music in the first (EMI) recording. I would go so far as to say that the music is now making sense to me for the first time (even bearing in mind the live performance at the RFH about ten years ago).
Now playing: Luigi Nono, Prometeo a new double CD on Stradivarius, the third recording to be released so far if I'm not mistaken, and if I'm recalling the others accurately enough, not having heard either for a while, this one is the clearest and most spatially vivid version, free of the incidental noises which threaten to overcome the music in the first (EMI) recording. I would go so far as to say that the music is now making sense to me for the first time (even bearing in mind the live performance at the RFH about ten years ago).
Duly ordered. It had better live up to the impression you give of it.
[In the meantime, I have downloaded the booklet from QOBUZ. Along with the Klaus Pauler's Listening Score from the col legno SACDs, that should help me 'get my head round it'.]
Last edited by Bryn; 01-03-19, 22:34.
Reason: Update.
Re. Sarah Walker on the (fairly) new Fidelio Trio recording of trios by Fauré, Chausson and Satie (arr. White). Naughty Sarah. She should really have declared an interest. She does, after all, play in a piano duo with John White (WW!!, by name). That said, White's love for Satie's music is long established. I cannot recommend too strongly his own recordings of a selction of Satie pieces:
Just had through the new release information from Australian Eloquence. The forthcoming releases include An interesting Nielsen CD - I must admit I’d forgotten about their existence - Sym 3 LSO Huybrechts and Sym 5 SRO Kletzki, both late 60s/early 70s.
Le baroque par la fine fleur de musiciens français : Véronique Gens, Damien Guillon, Maude Gratton. Une édition complète des enregistrements du pianiste Eduardo del Pueyo et la découverte de l'oeuvre musicale de Fazil Say.
Very nice no doubt. It hasn't appeared on Qobuz's new releases today, but I guess it will next week or some time soon. Something that did turn up though was an opera by Johann David Heinichen called Flavio Crispo (thanks for asking, mine's a salt and vinegar please) which I thought I'd give a few minutes to, having enjoyed for many years the compilation of his instrumental ensemble music performed by Musica Antiqua Köln (some bits of which appear here also) and released in 1993. Now about an hour in; really excellent, and very well performed too.
The sea salt and black pepper opera is on YouTube - search for Flavio Crispo, and jpc.de have it on sale for a tad under 30 euros for 3 CDs. I’ve not looked for other versions, or in other sites.
That would be because this recording derives from the first ever complete performance in 2015! I don't expect it's the sort of thing people are going to be queueing up to perform; I haven't even bothered to look up what happens in the no doubt rather silly and stereotyped libretto, but especially its colourful scoring marks it out as not just another baroque opera.
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