New Releases

Started by Brian, March 12, 2009, 12:26:29 PM

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Que

Quote from: Brian on August 31, 2019, 07:46:06 PM
Genuinely had never heard of Paillard until that humongous box set showed up.

I guess that is the fate of musicians that - much to their credit  (!) - have popularised Baroque music by playing it in a "Romantic", pseudo-Baroque way.... They became irrelevant when the period performances movement came along.... Maurice André and Pierre Rampal are other examples.

Don't do it!  ??? :D

Q

Jo498

To be fair, it was usually not a romantic but a proto-historically-informed pseudo-baroque way, e.g. using harpsichords (if "wrong ones"), often also recorders.

Is that Tetzlaff'S 3rd or 4th recording of the Beethoven concerto?
Tout le malheur des hommes vient d'une seule chose, qui est de ne savoir pas demeurer en repos, dans une chambre.
- Blaise Pascal

premont

Quote from: Que on September 01, 2019, 12:30:44 AM
I guess that is the fate of musicians that - much to their credit  (!) - have popularised Baroque music by playing it in a "Romantic", pseudo-Baroque way.... They became irrelevant when the period performances movement came along.... Maurice André and Pierre Rampal are other examples.

Q

You are very negative about them. It is true, that they were not that informed, but they were great musicians and their playing was highly spirited. Even if I prefer HIP, I can still enjoy the recordings of Münchinger, Redel, Ristenpart, Baumgartner and also Paillard among others. i got to love them in my youth, when there were no alternatives.
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Que

#8963
Quote from: (: premont :) on September 01, 2019, 01:49:40 AM
You are very negative about them.
I credited them with popularising Baroque, but I wouldn't listen to them...  8)

QuoteIt is true, that they were not that informed, but they were great musicians and their playing was highly spirited. Even if I prefer HIP, I can still enjoy the recordings of Münchinger, Redel, Ristenpart, Baumgartner and also Paillard among others. i got to love them in my youth, when there were no alternatives.

I think most prospective buyers will get this Paillard set for old times' sake - no offence!
These considerations of nostalgia don't play a role for me - when I got into Baroque in the 1980's I went with period performances right away.

Q

Mandryka

Quote from: Todd on August 30, 2019, 02:54:59 PM


Q: Will this be a purchase of the year?

A: Duh.




There's a taster of this on spotify, it's got the same quietness and interiority of the Brahms.
Wovon man nicht sprechen kann, darüber muss man schweigen

amw



















No idea what to make of Kairos's output under its current ownership—or if they're even making their own recordings at all anymore. The repertoire choices have become more varied, both in style and in quality. I will still be getting at least two of these though.

Jo498

In the case of Paillard there was also the fact that the French were somewhat behind in the "HIP" movement and the other early and proto HIPsters didn't do a lot of French music. So Erato and Paillard were almost the only game in town for decades, then Malgoire until Gardiner and Christie got into French music and finally Minkowski. Or was Niquet earlier?

I "grew up" already with a mix of modern chamber and HIP recordings in the mid/late 80s but I don't think I have any Paillard (not being much into French baroque anyway). For me it depends on several factors not easy to pin down if I still enjoy pre- or proto-HIP recordings.
Tout le malheur des hommes vient d'une seule chose, qui est de ne savoir pas demeurer en repos, dans une chambre.
- Blaise Pascal

premont

Quote from: Jo498 on September 01, 2019, 04:03:38 AM
In the case of Paillard there was also the fact that the French were somewhat behind in the "HIP" movement and the other early and proto HIPsters didn't do a lot of French music. So Erato and Paillard were almost the only game in town for decades, then Malgoire until Gardiner and Christie got into French music and finally Minkowski. Or was Niquet earlier?

Paillard recorded lots of Bach (harpsichord concertos, violin concertos, orchestral suites), Händel (organ concertos) and Vivaldi already in the 1950es and 1960es, so his contribution was not restricted to French music. When - relatively late - his first recording of the Brandenburg concertos was released in 1973, there were no real HIP recordings of these works. Yes I know, that Harnoncourt 's first set (1963) and the Collegium Aureum set (196/66) were considered HIP by some, but actually they were played in fairly traditional style if on period instruments. The first real HIP Brandenburgs were Leonhardt's and Albert Fuller's (both released 1977).
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premont

Quote from: Que on September 01, 2019, 02:29:00 AM

These considerations of nostalgia don't play a role for me - when I got into Baroque in the 1980's I went with period performances right away.

It is not just nostalgia in my view. Many of these recordings are most enjoyable even if they are not HIP. Great musicians transcend their instruments, you know. As to Beethoven e.g. I also still enjoy Klemperer, Kletzki and many others.
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Que

Now, that's a coincidence....



69 CDs!!

Q

Jo498

Quote from: (: premont :) on September 01, 2019, 10:22:18 AM
Paillard recorded lots of Bach (harpsichord concertos, violin concertos, orchestral suites), Händel (organ concertos) and Vivaldi already in the 1950es and 1960es, so his contribution was not restricted to French music. When - relatively late - his first recording of the Brandenburg concertos was released in 1973, there were no real HIP recordings of these works. Yes I know, that Harnoncourt 's first set (1963) and the Collegium Aureum set (196/66) were considered HIP by some, but actually they were played in fairly traditional style if on period instruments. The first real HIP Brandenburgs were Leonhardt's and Albert Fuller's (both released 1977).
You are missing my point. It was not that Paillard didn't do any Bach, Handel, Mozart etc. But that not many other people (neither Marriner nor Harnoncourt) did lots of French baroque music. So many of these recordings of French music were among the few available ones for some time
The other point is moot but you can hardly deny that both Harnoncourt and Coll. Aureum were clearly received as *very* different from the "proto-HIP" chamber recordings like Richter, Leppard, Marriner, This was the case even in the 1980s around 20 years after the recordings when I started listening to them although by then we had Musica antiqua Köln.
Tout le malheur des hommes vient d'une seule chose, qui est de ne savoir pas demeurer en repos, dans une chambre.
- Blaise Pascal

premont

Quote from: Jo498 on September 01, 2019, 04:03:38 AM
In the case of Paillard there was also the fact that the French were somewhat behind in the "HIP" movement

Quote from: Jo498 on September 01, 2019, 12:27:03 PM
You are missing my point. It was not that Paillard didn't do any Bach, Handel, Mozart etc. But that not many other people (neither Marriner nor Harnoncourt) did lots of French baroque music. So many of these recordings of French music were among the few available ones for some time

The French were not behind the HIP movement, not any more than any other European country when playing their national (and other Baroque) composers. What was to become HIP style was practically developed almost only by one person, Gustav Leonhardt between 1960 and 1975.

Quote from: Jo498
You can hardly deny that both Harnoncourt and Coll. Aureum were clearly received as *very* different from the "proto-HIP" chamber recordings like Richter, Leppard, Marriner, This was the case even in the 1980s around 20 years after the recordings when I started listening to them although by then we had Musica antiqua Köln.

The newest was the sound of the instruments. As to performance practice (tempo, rhythm, phrasing, articulation et. c.) there wasn't much new. I recommend the reading of Dorottya Fabian's Bach performance practice 1945-1975 (Ashgate 2002).
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Jo498

Sorry, but you must know much better than I do that this is not correct. There was Wenzinger and others even one generation earlier and it is simply not true that Leonhardt singlehandedly developed modern HIP. Maybe in harpsichord playing, but not in orchestral performance.

The French were clearly behind in that they did not really have an original instruments ensemble until fairly late. Did they have in the 60s/70s analogue institutions to Leonhardt in the Netherlands, the different groups at the Cologne Musikhochschule, the Schola Cantorum basiliensis?

By the mid/late-70s there were around half a dozen or more ensembles (lots of personnel overlap, so hard to count exactly) in Britain, low countries, Germany and Austria playing baroque on old instruments. Whereas in France there still was Paillard on modern instruments.

Similarly, in Italy the first generation of HIP players like Alesandrini was born in the late 50s and early sixties, not in the 1920s to early 40s like in Britain or the Netherlands, they were also about one generation or 2-3 decades behind, sticking with I musici and Solisti Veneti until the 1980s.

Tout le malheur des hommes vient d'une seule chose, qui est de ne savoir pas demeurer en repos, dans une chambre.
- Blaise Pascal

premont

Quote from: Jo498 on September 02, 2019, 04:19:03 AM
Sorry, but you must know much better than I do that this is not correct. There was Wenzinger and others even one generation earlier and it is simply not true that Leonhardt singlehandedly developed modern HIP. Maybe in harpsichord playing, but not in orchestral performance.

But now you are missing my point. Experiments with period instruments, or what in the early days were considered period instruments, started already around 1900 (Arnold Dolmetsch) and increased heavily early after the second WW, but this is not synonymous with the development of a specific performance practice. If you listen to Wenzinger's Brandenburgs from 1950-53 which uses period string instruments, they do not differ much in performance style from Sacher's rather traditional recordings from the mid 1950es using modern instruments. Many of the musicians participated in both recordings and played in the same style whatever on period or modern strings. And this was for some time the situation as to performance practice. The first Brandenburg concertos recording which foreshadows the HIP performance style to come was Leonhardt's from 1977. The next were Harnoncourt's second set and Hans-Martin Linde's, both from 1982. But even after that time we had Brandenburg comcerto recordings in relatively traditional performance style on period instruments (Pinnock and Kehr 1982), Hogwood (1984). Göbel wasn't until 1987. So period instruments were in use relatively early, but it took many years to learn to play the instruments and then to develop a specific HIP performance practice. This is probably the reason why Cappella Coloniensis (founded 1954) recorded as well as nothing in the 1950es and 60es.I use the Brandenburg concerto recordings as examples, because I know them well, and because these concertos often were the first music, new period ensembles recorded. As to the French Malgoire was born 1940 and founded his period ensemble 1966, in a European period instruments ensemble perspective rather early.  For comparison Collegium Aureum was founded 1962, La Petite Bande 1972, The English Concert and Academy of Ancient Music 1973 and the Amsterdam Baroque Orchestra 1979.
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JBS

This seems to have been missed.
Amazon US gives this coming Friday as the release date.
[asin]B07TMK5ZWX[/asin]
QuoteRecording Bach's six Cello Suites realized Emmanuelle Bertrand's most cherished dream. Her performance here features an exceptional instrument, built by Carlo Tononi in Venice in 1730. This cello, with its deep and powerful sound, has been set up in 'Baroque' style (with gut strings and bow to match). In Bertrand's hands it proves to be the perfect choice for tackling one of the most impressive monuments in all western music.

Hollywood Beach Broadwalk

SymphonicAddict



Interesting release. Labor was a teacher of Schoenberg, Alma Schindler and Paul Wittgenstein.

Ras

September 20. Chailly and Strauss on Decca:

[asin]B07TKNGMLG[/asin]
"Music is life and, like it, inextinguishable." - Carl Nielsen

Brian

Speaking of September releases sneaking in under the radar...Nagano and Montreal team up for a John Adams disc.


Ras

In 2020 we will all celebrate Beethoven's 250th birthday and two major labels - DG and Warner are warming up to the party with huge boxes including everything Beethoven ever composed (I would never buy them, but other people here may feel differently).

29 Nov 2019 --- 80 discs on Warner Classics:

[asin]B07X7D9W6N[/asin]

8 Nov 2019, --- 123 discs - CD+DVD, Box-Set -- Deutsche Grammophon (Universal Music)

[asin]B07S8636CP[/asin]
"Music is life and, like it, inextinguishable." - Carl Nielsen

SymphonicAddict



A super interesting release featuring the Ben-Haim's Cello Concerto and Bloch's Symphony for cello and orchestra (both not recorded previously).