Author Topic: New Releases  (Read 1473823 times)

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Offline Todd

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Re: New Releases
« Reply #8160 on: December 16, 2018, 07:56:13 AM »
Does anyone know if these are brand new recordings or a collection of existing albums? And if existing, are they any good?


Based on the pianist's discography, I think it's new, though I may be mistaken.
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Offline Florestan

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Re: New Releases
« Reply #8161 on: December 16, 2018, 07:59:33 AM »




To HIP, or not to HIP


In this case we can have both answers --- as opposed to the original question, alas!  :)
“I compose music because I must give expression to my feelings, just as I talk because I must give utterance to my thoughts.”  --- Rachmaninoff

Offline Brian

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Re: New Releases
« Reply #8162 on: December 17, 2018, 01:26:40 PM »

Ghost of Baron Scarpia

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Re: New Releases
« Reply #8163 on: December 17, 2018, 01:29:11 PM »


I don't like it when they mix genre on one release (concerto+sonata).

Offline Brian

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Re: New Releases
« Reply #8164 on: December 17, 2018, 01:42:36 PM »
Not too early to start thinking about FEBRUARY



(Tan Dun conducts too)



Chandos is unfortunately using the old numbering. 8 = Unfinished





There are instruments and then there are instruments … On the one hand a violin, trumpet or lead guitar so firmly planted in the spotlight that everyone else on stage is reduced to a supporting role. On the other a bassoon, double bass, drum set or Hammond organ, providing the harmonic and rhythmic backdrop against which the soloist can shine But what if the background instruments rebel? What if they strike back? ORBI – the Oscillating Revenge of the Background Instruments – is the result: four musicians making their bass-heavy instruments howl and growl (and sing!) in a mix of symphonic rock, thrusting metal and a little blues, 100% instrumental and lead-singer free. Of this Dutch quartet, Bram (on bassoon) and Rick (double bass) both pursue high-profile careers in classical music. Marijn (percussion) is classically trained but also studied in West Africa and India, and is active in many musical genres as well as multimedia projects. And keyboardist Sven Figee, finally, plays jazz, pop and rock in various constellations. Choosing from their own favourite playlists, and with the help of arranger Marijn van Prooijen, they have come up with a mix of music and sounds that is as weird and wonderful as it is surprising and addictive.

-

Also coming on Chandos, but no artwork available to me yet:

Arriaga - Orchestral Works
BBC Philharmonic / Juanjo Mena

Tasmin Little Plays Amy Beach, Clara Schumann, and Ethel Smyth
with John Lenehan

Jean-Efflam Bavouzet Plays Schumann
Sonata No. 3 + Faschingsschwank aus Wien + Gesang der Frühe + the late Drei Klavierstücke

-

Also coming on Ondine, but only back cover artwork is available to me:


Offline Mandryka

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Re: New Releases
« Reply #8165 on: December 17, 2018, 02:13:58 PM »


This year I know of three new Josquin releases, viz. Tallis Scholars with MM di Dadi and Mousse De Biscaye; Metamorphoses Biscantor! with MM Fortuna Desperata and Mousse De Biscaye; Cappella Amsterdam with motets. Altogether a bumper Josquin year, but is it a vintage Josquin year?

They’re all relatively recent and I haven’t really given any of them the attention they deserve. But I can say this much with a certain confidence: the Tallis Scholars release is excellent, combining poise and intensity and great beauty of tone in a way which I find irresistible. Both masses on their recording may or may not be by Josquin des Prez, and if they are they may or may not be very early works. Whatever. The quality and inventiveness of the music is very high. This CD alone makes 2018 a great Josquin millesime I think.

SQ is fabulous even on Spotify, I can’t wait to hear it losslessly.

I have enjoyed the Metamorphoses recording too.
« Last Edit: December 17, 2018, 02:17:59 PM by Mandryka »
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Offline San Antone

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Re: New Releases
« Reply #8166 on: December 17, 2018, 03:53:39 PM »


This CD alone makes 2018 a great Josquin millesime I think.

I bought this one as soon as it came out, and then bought the rest of the Josquin recordings by the Tallis Scholars I didn't have.

Offline JBS

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Re: New Releases
« Reply #8167 on: December 17, 2018, 07:31:45 PM »


This year I know of three new Josquin releases, viz. Tallis Scholars with MM di Dadi and Mousse De Biscaye; Metamorphoses Biscantor! with MM Fortuna Desperata and Mousse De Biscaye; Cappella Amsterdam with motets. Altogether a bumper Josquin year, but is it a vintage Josquin year?

They’re all relatively recent and I haven’t really given any of them the attention they deserve. But I can say this much with a certain confidence: the Tallis Scholars release is excellent, combining poise and intensity and great beauty of tone in a way which I find irresistible. Both masses on their recording may or may not be by Josquin des Prez, and if they are they may or may not be very early works. Whatever. The quality and inventiveness of the music is very high. This CD alone makes 2018 a great Josquin millesime I think.

SQ is fabulous even on Spotify, I can’t wait to hear it losslessly.

I have enjoyed the Metamorphoses recording too.

Slight mixup here. The Di Dadi/Mousse CD was released in 2016.
This is the Josquin they released last month


But I think your comments about the quality of the performance apply to this one.

Offline Mandryka

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Re: New Releases
« Reply #8168 on: December 17, 2018, 10:00:44 PM »
Slight mixup here. The Di Dadi/Mousse CD was released in 2016.
This is the Josquin they released last month


But I think your comments about the quality of the performance apply to this one.

Thank you! I’ll listen to that one today.
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Offline San Antone

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Re: New Releases
« Reply #8169 on: December 18, 2018, 01:24:16 AM »
Slight mixup here. The Di Dadi/Mousse CD was released in 2016.
This is the Josquin they released last month


But I think your comments about the quality of the performance apply to this one.

You are correct - I had gotten them mixed up, but I also bought the one from 2016 (although Mandryka implied it had come out in 2018). 

I like them all.
« Last Edit: December 18, 2018, 02:17:44 AM by San Antone »

Offline king ubu

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Re: New Releases
« Reply #8170 on: December 18, 2018, 02:02:12 AM »


Is he good? Don't know him at all yet, but saw plenty of promo for this disc already. He'll be playing as part of a series I subscribe to in March ... this is on the menu that night - looks interesting enough for sure:

Bach, Chromatische Fantasie & Fuge d-Moll BWV 903
Schubert, Fantasie C-Dur D 760 «Wandererfantasie»
Chopin, Polonaise-Fantasie As-Dur op. 61
Mussorgsky, Bilder einer Ausstellung
Es wollt ein meydlein grasen gan:
Fick mich, lieber Peter!
Und do die roten röslein stan:
Fick mich, lieber Peter!
Fick mich mehr, du hast dein ehr.
Kannstu nit, ich wills dich lern.
Fick mich, lieber Peter!

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Offline Madiel

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Re: New Releases
« Reply #8171 on: December 18, 2018, 02:11:04 AM »
Not too early to start thinking about FEBRUARY

I haven't ruddy well navigated Christmas yet.
I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!

Offline Mandryka

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Re: New Releases
« Reply #8172 on: December 18, 2018, 10:32:23 AM »

I like them all.

I thought Gaudeamus was very British.  Self assured, expressive without being demonstrative. Beautiful tone beautifully recorded, of course.

You know, British choirs have a reputation for this, professional accurate singers who can give many performances very well. They can cope confidently with an intense work rhythm. There's a paper by Christopher Page where he argues that the work regime, the training and the ethos, of British choirs is like how it was for early choirs, and that gives us Brits a special authority about how to sing early music. It's as if he's saying that British choirs are a particularly authentic early music instrument, as it were.

A friend of mine who's sung  in the Tallis Scholars once said that the first time he rehearsed with Philips he was amazed at the managed professionalism of it. It was just assumed that you really knew your part well, that you had mastered the score, before coming. Philips just gets them to sing, makes some points about nuances etc and BANG!!! on to the next one.

« Last Edit: December 18, 2018, 10:40:05 AM by Mandryka »
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Traverso

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Re: New Releases
« Reply #8173 on: December 19, 2018, 03:09:02 AM »
I thought Gaudeamus was very British.  Self assured, expressive without being demonstrative. Beautiful tone beautifully recorded, of course.

You know, British choirs have a reputation for this, professional accurate singers who can give many performances very well. They can cope confidently with an intense work rhythm. There's a paper by Christopher Page where he argues that the work regime, the training and the ethos, of British choirs is like how it was for early choirs, and that gives us Brits a special authority about how to sing early music. It's as if he's saying that British choirs are a particularly authentic early music instrument, as it were.

A friend of mine who's sung  in the Tallis Scholars once said that the first time he rehearsed with Philips he was amazed at the managed professionalism of it. It was just assumed that you really knew your part well, that you had mastered the score, before coming. Philips just gets them to sing, makes some points about nuances etc and BANG!!! on to the next one.

The choir members know what is expected of them so that mr Philips only has to make some nuances. It is more important that the choir members stay fresh and give their best during recording in the studio or church.
There is of course a big difference between the conductors. Take the difference in opinion of the Stabat Mater from Palestrina.
Listen to Andrew Parrott with his almost improvised freer approach and that of Peter Philips.

Offline Mandryka

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Re: New Releases
« Reply #8174 on: December 19, 2018, 03:37:05 AM »
I think there is an English tradition in early vocal music of working very quickly through very large amounts of repertoire -- think of the sheer volume and pace of output of people like Rooley, Philips, Hillier, Page. Contrast with Stratton Bull or Walter Testolin or Giuseppi Maletto or Thomas Binkley.
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Offline San Antone

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Re: New Releases
« Reply #8175 on: December 19, 2018, 04:50:23 AM »
You know, British choirs have a reputation for this, professional accurate singers who can give many performances very well. They can cope confidently with an intense work rhythm. There's a paper by Christopher Page where he argues that the work regime, the training and the ethos, of British choirs is like how it was for early choirs, and that gives us Brits a special authority about how to sing early music. It's as if he's saying that British choirs are a particularly authentic early music instrument, as it were.

I have consistently enjoyed British recordings of early music.  But they are not praised by everyone on GMG.  I remember posting how I like this set:



And it being criticized by Que and The New Erato (I think).   ;)

You can't please everyone all of the time.   :D

Offline The new erato

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Re: New Releases
« Reply #8176 on: December 19, 2018, 05:00:21 AM »
Critized is a too strong Word, I'd rather say I prefer other ways of presenting the Music.

Traverso

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Re: New Releases
« Reply #8177 on: December 19, 2018, 05:23:00 AM »
I have consistently enjoyed British recordings of early music.  But they are not praised by everyone on GMG.  I remember posting how I like this set:



And it being criticized by Que and The New Erato (I think).   ;)

You can't please everyone all of the time.   :D

The recordings in this box are really very fine indeed. The recording of the Josquin Desprez CD is one of my all time favorites.The Ockeghem requiem is also a beauty. :)

Offline Que

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Re: New Releases
« Reply #8178 on: December 19, 2018, 05:49:20 AM »
I have consistently enjoyed British recordings of early music.  But they are not praised by everyone on GMG.  I remember posting how I like this set:



And it being criticized by Que and The New Erato (I think).   ;)

You can't please everyone all of the time.   :D

I do not recall commenting on these particular recordings - and I am not familiar with (all of) them...  8)

If you search the forum for "Oxbridge" you'll find that it is actually Mandryka used that term for a certain style of performing Early Music, and that you've had in fact discussions with him in the past on that topic.

Anyway, that doesn't take away from the fact that for Early Franco-Flemish repertoire, I am inclined to look for a different style than the Hilliard's.

Q

Offline San Antone

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Re: New Releases
« Reply #8179 on: December 19, 2018, 06:15:42 AM »
Critized is a too strong Word, I'd rather say I prefer other ways of presenting the Music.

I do not recall commenting on these particular recordings - and I am not familiar with (all of) them...  8)

If you search the forum for "Oxbridge" you'll find that it is actually Mandryka used that term for a certain style of performing Early Music, and that you've had in fact discussions with him in the past on that topic.

Anyway, that doesn't take away from the fact that for Early Franco-Flemish repertoire, I am inclined to look for a different style than the Hilliard's.

Q

Fair enough.   :)

The recordings in this box are really very fine indeed. The recording of the Josquin Desprez CD is one of my all time favorites.The Ockeghem requiem is also a beauty. :)


Another precinct reporting ...   8)

 :D