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  #20331  
Old 08-28-2018, 01:59 PM
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Originally Posted by eljr View Post


Disc 1 yesterday, disc 2 now.

My first listen of the circa 1500 composer's masses, a 2018 release
That cover, though...

I enjoyed this 2-hour and 20-minute Nocturne! Not sure what Chopin would make of it...

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  #20332  
Old 08-28-2018, 02:50 PM
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Olafur Arnalds - re:member
Qobuz 24/96




This is placed under "classical" but I would call it cross-over; makes me think of Max Richter.
Some nice pieces, but also some fillers.
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  #20333  
Old 08-28-2018, 07:12 PM
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Wonderful playing and excellent sound.

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  #20334  
Old 08-28-2018, 07:13 PM
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Anne-Sophie Mutter - Hommage à Penderecki




What a great album.
I am a fan of Penderecki since the moment I discovered him.
And this shows his qualities in various pieces, for violin solo, violin and double bass, violin and piano, and violin and orchestra (directed by the composer!).
One of the greatest living composers!

All these Penderecki works have been commissioned by Anne-Sophie Mutter and are duly dedicated to her (as well as to double bass player Roman Patkoló in the case of the 2010 Duo concertante for violin and double bass), this is thus doing them justice to gather them under the same helm. We go crescendo, from La Follia for solo violin from 2013, a series of variations, up to the Violin Sonata No. 2, « Metamorphosen » from 1995—conducted here by the composer himself—to the already mentioned Duo concertante and the Sonata for violin and piano from 1999. As so many composers from his era—let’s remember he was born in 1933—Penderecki has taken the “backward path”, starting as a composer in the path underlined by serialism, before straying away from it to come back to a much more melodic language, almost tonal and even sometimes Post-Romantic. For such a talented violinist as Anne-Sophie Mutter, fed with beauty and virtuosity, these works represent both an endless renewal and a constant challenge, while allowing her to develop her sonority and her passionate lyricism. Let’s note that these Metamorphosen have been recorded in 1997, and the partition’s ink had barely had time to dry. Incidentally, the other recordings have all been close to the writing date, underlining the emotional and artistic closeness of the two characters. © SM/Qobuz
Most (all but one?) pieces are re-releases...are they also remastered?
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  #20335  
Old 08-29-2018, 02:37 AM
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Originally Posted by Toccata View Post
Most (all but one?) pieces are re-releases...are they also remastered?

Hi John, I honestly don't know.
The sound is good, the (informative) booklet doesn't mention that the recordings have been remastered.
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  #20336  
Old 08-29-2018, 04:33 PM
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Josef Mysliveček - Violin Concertos - Sinfonia & Ouverture
Leila Schayegh, violin
Collegium 1704, Václav Luks
via Qobuz




This is lovely music, and the composer that comes to mind the most when you hear it is of course Mozart, who was influenced by Mysliveček.
We've heard this orchestra live a couple of years ago and they were excellent.


Myslivecek: Violin Concertos and Sinfonia & Ouverture
by Leila Schayegh

Josef Mysliveček (1737-1781) also known as "Il Divino Boemo" (The Divine Bohemian) was one of the most celebrated opera composers in Italy in the 1770s. His instrumental works - symphonies, concertos, octets, quartets, and trios - were as popular as his vocal music. Certain features of his melodic style reflect his Bohemian origins, and Mysliveček's influence on contemporaries was significant. A close friend of the young Wolfgang Amadeus Mozart and a musical influence on him, Mozart described his character as "full of fire, spirit and life". All nine of the Mysliveček violin concertos that survive in complete form were probably written in a short period during the late 1760s and early 1770s when the composer maintained close contacts with the city of Padua and the composer and violinist Giuseppe Tartini. As a representative of Italian traditions that extended back to the early eighteenth century, Mysliveček’s violin concertos are all cast in three movements of the pattern ‘fast-slow-fast’.
“From this music one can hear that the author was also a superb opera composer: the quickly alternating themes are well defined in character, whether sounding serious or boisterous, pleading or alluring, questioning or majestic, friendly or imperious. Figuratively, we find ourselves on the opera stage.” (Leila Schayegh) © Accent/Note-1
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  #20337  
Old 08-29-2018, 07:22 PM
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Fantastic playing and very good sound. (The mics pick up a lot of finger noise and breathing, though.)

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  #20338  
Old 08-31-2018, 01:29 PM
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Alice Sara Ott - Nightfall

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  #20339  
Old 08-31-2018, 02:17 PM
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I have been playing Mozart in my practice.
Brautigam on fortepiano, it doesn't get much better than this.
All 10 CDs.


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  #20340  
Old 08-31-2018, 05:09 PM
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Jacques Arcadett - Madrigali - Chansons - Motetti
Cappella Mediterranea
Doulce Mémoire
Choeur de Chambre de Namur

via Qobuz




New release.
An unknown composer to me, but I knew the ensembles, so I guessed I was in for a treat.
I proved to be right.
This composer from Namur (Belgium) is magnificently brought by 3 ensembles here (from Belgium, France and Switzerland).
His style is close to Josquin Desprez.
I'm listening to CD 1 now.

Brought up in the French-Flamish tradition but fed with the milk of Renaissance Italian madrigalism since he was about eighteen years old, Jacques Arcadelt (1507-1568) left behind him many gems whose importance has been realized only recently. Let’s acclaim this magnificent album gathering the Chœur de Chambre de Namur, the ensemble Doulce Mémoire and the Cappella Mediterranea, to give us not the complete marigals, songs and motets by Arcadelt, of course, but a large selection of his most stupefying pieces. These are thus madrigals from his First and Fourth Books released during his Italian years around 1540, songs from the various Livres de Chansons (Books of Songs) released between 1550 and 1565 when he was living in Paris, and motets from various eras in his career—mostly Italian, a bit French too since he moved from court to court depending on the jobs, the political assassinations, the change in alliances and, generally, the implausible chaos between the various power players at the time. As a nod, we also hear an Ave Maria “according to Arcadelt”, in truth an imitation by Louis Dietsch, a composer from the 19th Century, and the comical Ave Maria d’Arcadelt … by Liszt, inspired by the Dietsch imitation, for solo organ, an exercise in returning to your ancient roots like people loved to imagine them during the Romantic era. We could even wonder if Saint-Saëns didn’t use the head of the main theme to recycle it into his ”Organ” Symphony, incidentally. © SM/Qobuz

CD 2: Madrigali

This is heavenly music.
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