Fun reviews corner

[Daverz]

A Karel Ančerl disc with a "10" for sound quality.

Are all analog recordings precluded from a 10 for sound quality, or just ones made in the Eastern Bloc?

[Brian]

Oh man, it's so fun to let Google auto-translate ClassicsTodayFrance reviews.

"The purpose here seems to be stripping the work is to convince the moose and subtle nuances."

"The issue of domination discography does not even arise."

"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

[Karl Henning]

"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

I've heard more than one Järvi recording which answers to that description....

[The new erato]

"Järvi covers it all up with gusto and, whipping the orchestra with pleasure."

Well that seems more or less very French.

[North Star]

While the site is even less reliable than Gramophone, I was surprised at this low from classics today:

http://www.classicstoday.com/review.asp?ReviewNum=8315

A Karel Ančerl disc with a "10" for sound quality.

Perhaps it's just a hip way to let us know it's mono - they'd naturally rate it "11" if it was stereo...

[Daverz]

Perhaps it's just a hip way to let us know it's mono - they'd naturally rate it "11" if it was stereo...

The recording in question is stereo.  CT usually cuts the sound rating in half for mono -- half the channels, so half the rating -- which I find rather silly.

[Brian]

Oh man, it's so fun to let Google auto-translate ClassicsTodayFrance reviews.

I return less the inconsistency technical label industry's flagship classic (since everything is going to spray EMI and Sony BMG seems hardly pretend to exist, at least in North America). Alongside stunning successes (Duo-Grimaud Gabetta), there is sheer horror (Grimaud Mozart) to technical awards DG.

This brings us to a Brahms level of mediocrity that evokes memories of taking his glaucous EMI signed Paul Vavasseur in the years 60-70, the quadra EMI 70s (like Karajan Symphonia domestica) or Scottish Chandos recordings to late 80s. The sound of the orchestra, just searched and unrefined, like radio broadcasting, and pours suddenly unfolds in a kind of cathedral of sound (Reims? Chartres?). Be compared with some questioning the sound of the orchestra in some strains of the intro (say, 0'45) with others in development (8'40), with an echo of the order of 3 seconds. The violin part of this huge halo or cheese dish.

Thielemann is positively unrecognizable in the introduction: surly, up with lots of ideas. The thing does not last: Lisa Batiashvili his place mats beautiful sound no flesh (same problem as in Shostakovich) with less distasteful than Julian Rachlin, but also its least. Tic precious little lady is to lighten his sentence for small spikes whipped cream. Material: none. Ah yes, Batiashvili and the pace of play Thieleman Busoni I always monstrous. The coupling is smart but short (9mn).

All this is a inintérêt abyssal, when we think of the great Brahms DG: Schneiderhan Van Kempen, Ferras, Karajan, Milstein, Jochum, Bernstein-Kremer, Mutter, Masur and the sublime Shaham, Abbado, Shaham great musician DG to shamefully dropped in favor of this kind of stuff marketing nut.

- Christophe Huss

[The new erato]

I return less the inconsistency technical label industry's flagship classic (since everything is going to spray EMI and Sony BMG seems hardly pretend to exist, at least in North America). Alongside stunning successes (Duo-Grimaud Gabetta), there is sheer horror (Grimaud Mozart) to technical awards DG.

This brings us to a Brahms level of mediocrity that evokes memories of taking his glaucous EMI signed Paul Vavasseur in the years 60-70, the quadra EMI 70s (like Karajan Symphonia domestica) or Scottish Chandos recordings to late 80s. The sound of the orchestra, just searched and unrefined, like radio broadcasting, and pours suddenly unfolds in a kind of cathedral of sound (Reims? Chartres?). Be compared with some questioning the sound of the orchestra in some strains of the intro (say, 0'45) with others in development (8'40), with an echo of the order of 3 seconds. The violin part of this huge halo or cheese dish.

Thielemann is positively unrecognizable in the introduction: surly, up with lots of ideas. The thing does not last: Lisa Batiashvili his place mats beautiful sound no flesh (same problem as in Shostakovich) with less distasteful than Julian Rachlin, but also its least. Tic precious little lady is to lighten his sentence for small spikes whipped cream. Material: none. Ah yes, Batiashvili and the pace of play Thieleman Busoni I always monstrous. The coupling is smart but short (9mn).

All this is a inintérêt abyssal, when we think of the great Brahms DG: Schneiderhan Van Kempen, Ferras, Karajan, Milstein, Jochum, Bernstein-Kremer, Mutter, Masur and the sublime Shaham, Abbado, Shaham great musician DG to shamefully dropped in favor of this kind of stuff marketing nut.

- Christophe Huss

Yes, but did he like it? And which disc is he talking about???

[Brian]

Yes, but did he like it? And which disc is he talking about???

Batiashvili plays Brahms

[Opus106]

The new Craft recordings of the Second Viennese School Composers are the recordings to have. Finally performers have caught up with the composers and make this difficult music sound easy and right and like MUSIC.

Link

[Karl Henning]

The new Craft recordings of the Second Viennese School Composers are the recordings to have. Finally performers have caught up with the composers and make this difficult music sound easy and right and like MUSIC.

Link

Nice!

[Brian]

Yet more fun with Google Translate and ClassicsTodayFrance.

"Came to this beach 9, it was entitled to treat the program "deeply stupid" (minus 1 note, for once)? ...Throughout this section, Wunder elk as part Droopy stainless steel. I prefer this to the anything, but it's still a bit annoying.

"So we feel that the artist is worth seeing, but there is so (capture a little dry, but nice) yet the magic of touch, vertigo or digital delusions. In the end, still reeling from the stupidity visceral art project (go, yet another minus 1 note, for once), you wonder what all this is."

http://www.classicstodayfrance.com/review.asp?ReviewNum=4431

I love the random "elk."

[Cato]

This is not really a fun review!

I read a remark by a music critic, quoted on the NY Philharmonic website, which remark made me want to throw a brick:

( Christopher Rouse is ) one of America's "loftiest, most passionate and most sincere composers" (critic Justin Davidson) ...

.   

"Most sincere" ?!  Really?  How nice!   

[Brian]

The paywall is a spoilsport here:


CD From Hell: The London Haydn Quartet's Toxic Op. 33
by David Hurwitz
This isn't just a CD from hell. It's a CD from the seventh circle of hell. We're talking rock bottom... [Pay to Continue Reading]

[Karl Henning]

Hah!

Ask me if I'm going to pay to read a Hurwitz review . . . .

[Karl Henning]

Came to this beach 9, it was entitled to treat the program "deeply stupid" (minus 1 note, for once)? ...Throughout this section, Wunder elk as part Droopy stainless steel. I prefer this to the anything, but it's still a bit annoying.

Thanks, Brian, this is beautiful.

[mc ukrneal]

Hah!

Ask me if I'm going to pay to read a Hurwitz review . . . .

Are you going to pay for a Hurwitz review? 

It might have you in stiches!

[Karl Henning]

I don't believe I am, but thanks! 

[Geo Dude]

The paywall is a spoilsport here:


CD From Hell: The London Haydn Quartet's Toxic Op. 33
by David Hurwitz
This isn't just a CD from hell. It's a CD from the seventh circle of hell. We're talking rock bottom... [Pay to Continue Reading]

I am suddenly immensely confident in my decision to order this set.

Reviews by the Soul Doctor (is that like a Love Doctor?) are always a hoot.

[Pat B]

Oh, amazon...

http://www.amazon.com/review/RLMEAA4LLP8YI

"the bridge of [Leroy Anderson's] Serenata could have been written by J. S. Bach."

Going through the 2nd Living Presence box, this disc came up today. I can't say I hear the similarity to Bach.