gramophone best recordings

In Var 2 Renaud Capuçon’s figuration is so delicate that the viola melody can create a particularly strong expressive effect, and the following variation is just as magical – Frank Braley’s demisemiquavers are quite brilliant, with a lovely, silvery tone, and the bass melody has, for once, nothing elephantine about it. The quality of soloists in any recording of the St Matthew will significantly define its sustainable fortunes. (534) $349.99 FREE shipping. The solo movements are also bursting with personality, soprano Anna Zander delivering a robustly fluent “Et exultavit” and her counterpart, Maria Keohane, a sensually captivating “Quia respexit”, whose oboe d’amore obbligato dovetails her lines with imploring beauty. Only a rather cut-up performance (for my taste) of the Loure stops this being one of the most enjoyable E major Partitas I can remember. This might seem a time-honoured ambition and yet, for all the admirable qualities of, say, the RIAS Kammerchor under René Jacobs or the more recent reading from Philippe Herreweghe and Collegium Vocale Gent, neither of these brings as ambitious a kaleidoscopic challenge to the listener in identifying renewed character and meaning as Gardiner aspires to. Browse 1,741 gramophone record stock photos and images available, or search for jazz or record player to find more great stock photos and pictures. All of these lists are, of course, subjective, but every recording there has received the approval of Gramophone‘s critics and are artistic and musical benchmarks. In the sonatas she shows other sterling qualities. Lindsay Kemp (April 2019), Alina Ibragimova vn Arcangelo / Jonathan Cohen. the gramophone record store 629 followers the-gramophone-record-store ( 9600 the-gramophone-record-store's feedback score is 9600 ) 100.0% the-gramophone-record-store has 100% Positive Feedback Please add me to your list of favourite sellers and come again. Gramophone today revealed the winners in the ten recording categories of their 2020 Classical Music Awards. One of these recordings will win Recording of the Year which will be announced on 6 October during on online awards ceremony which will be live streamed on Gramophone ’s Facebook and YouTube channels and on Medici TV. From her 1658 Stainer she produces a sound that is period-instrument clean (even at times a little wiry), but can summon warmth of tone and tonal strength when she wants. ""Discusses the history of the lute, the archlute, and the theorbo and gives practical advice on technique, the choice of instrument for particular music, and the preparation of scores.""--Publisher's description." In the booklet he explains his thoughts about historically informed performance practice (one voice per part, following the evidence outlined in the writings of Joshua Rifkin and Andrew Parrott), and discusses his choice to make the first recording of Rifkin’s recent edition (which reconstructs Bach’s score c1749, without later accretions). Perahia is not an artist who takes Bach to extremes: he doesn’t intervene in the way that Maria João Pires or Piotr Anderszewski can do to such mesmerising effect. Her C major Prelude unassumingly unfolds at a moderate pace, resonating less like a piano than a murmuring organ, while the C major Fugue sounds like a madrigal featuring four distinct yet unified voices with prodigious breath control. Hewitt doesn’t slavishly follow a formula, though. The Aria's return, too, is overwhelming in its profound sense of solace and resolution. Only Pinnock himself remains from that first line-up, and while the players then were a high-class team (Simon Standage, Lisa Beznosiuk and Michael Laird among them), the players of the European Brandenburg Ensemble include some of the finest of today’s Baroque chamber players, and there is a relaxed expertise about their performances which seems to allow them to communicate directly and without technical or ideological hindrance. Not that Pinnock need worry about that at this point in his career. The Berliners’ art is the art that disguises art. They also have a way of revealing detail that you’d never previously noticed – in the Allegro of D810, Schubert’s sighing figure in the viola is here poignantly brought out. Richard Osborne, December 2018, 'A tough call, and it can depend on your mood. A phonograph disc record (also known as a gramophone disc record, especially in British English), or simply a phonograph record, gramophone record, disc record or record, is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. With these impressive performances (on her beautiful-toned Amati) of the Solo Sonatas and Partitas Monica Huggett sweeps other baroque interpretations off the board. There is no doubt, however, that both elements pay off here. Richter’s captivating direction and intensity, complete with an almost hypnotic abandon, is a touch more measured in Suzuki’s hands but no less effectively communicated. This Trout must surely be one of the very best versions of this much-recorded work. Each of the four movements is sweetly devotional in nature, skilfully preparing the way for the highly distilled and contemplative variations on the chorale ‘O Gott, du frommer Gott’. There is perhaps no Baroque group around today that can do the simple and obvious things to such exciting effect. Musically it is very fine. That certainly does not imply any absence of virtuosity: there have been few recordings of these pillars of the repertoire so impeccable in intonation and so free from any tonal roughness. There are The chorus is impressively disciplined and radiant in the opening chorus, during which rapid duet passages are delivered impeccably by James Gilchrist and Peter Harvey. Perahia’s pacing is unerring throughout, and even if you tend to favour this movement slower, that one faster, the sense of narrative that he brings to these suites as a whole is utterly persuasive. However, these recordings may also serve as a reminder of the wonderful heights of musicianship that his players achieved, as in the Trio of the Third. Now Murray Perahia enters the fray with a version that isn’t just colourful, or virtuosic, or thorough in terms of repeats, but profoundly moving as well. That is not to say that this performance is not of the highest level intellectually and technically: it is, and largely because of its appreciation of these suites as not just dances but discourses almost verbal in their directness. I can’t wait to hear what he does next. Geraint Lewis, August 2019, 'Mingling awed gravitas and assuaging tenderness, Thomas Quasthoff responds with spontaneous-sounding intensity to every shade of verbal and musical meaning in these mighty songs. Moreover, the dichotomy between the tragic perspective and Viennese gaiety in the Quintet, so evident in much of Schubert’s greatest music, generates an especially potent dramatic force. Angela Hewitt includes, as she says, ‘a harpsichord in its traditional role as continuo’. Thomas Hobbs and Matthew Brook sing the principal lower-voice contrapuntal passages with sensitive blend and superb intonation: they also declaim their solo movements with confidence and eloquence. The support of the Freiburg Baroque Orchestra is total‚ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are ‘playing the words’. The experience seems to have drawn the musicians together and intensified their commitment. He could be brilliant in execution – his technique was second to none, as he proves throughout this set – profound in utterance, aristocratic in poise and wonderfully coherent in his understanding of Bach's articulation and phrases. Yet no music is more demanding to realise in sound, nor quicker to reveal inadequacies of perception. The right home audio system can bring your music and movies to life. There is no more compelling example than the soft, controlled climate of the final contemplative strains of Fürchte dich nicht, where we have an extraordinary representation of the precious mystery of belonging to Christ. I’m not sure I’ve ever heard the reconstructed concertos sound so convincing (especially the D minor), the trio sonatas go at a thrilling lick that surely no organ could keep up with and the sinfonias simply gleam. If a finer piano recording comes my way this year I shall be delighted, but frankly also astonished. Indeed, the idea of the Mass as Bach’s ‘summa’ anthology (a work that may never even have been conceived as a single piece) has often inhibited that elusive golden ‘arc’ where the culminating ‘Dona nobis’ feels magnetised to all before it. particularly in the slow movements. When it comes to the treacherous chordal cadenza at 6'11 into the finale, Perahia keeps up the momentum without either flagging or straining his tone. Phonograph cylinders are the earliest commercial medium for recording and reproducing sound.Commonly known simply as "records" in their era of greatest popularity (c. 1896–1915), these hollow cylindrical objects have an audio recording engraved on the outside surface, which can be reproduced when they are played on a mechanical cylinder phonograph. One of the first things to strike the listener in this new recording of Bach's Goldberg Variations is the fine quality of Bruce Kennedy's copy of an early eighteenth-century instrument by the Berlin craftsman, Michael Mietke. Finest of all is the great G major Quartet, a work of epic scale. For Beethoven, for Mozart in his maturity and for Chopin, it was the same. From this, he has found his own way with Bach – highly individual but never mannered. ), the effect of the violin swirls, pounding lower strings and intertwining oboe suspensions of that great opening chorus interrupting Buxtehude’s somewhat Gothic organ prelude certainly deserves more than one hearing. But in the grip of its conceits and its virtuoso executancy, captured in the strikingly immediate recorded sound of LSO St Luke’s, this High Mass joins a distinguished discography at high table. ‘Es ist nun nichts Verdammliches’ (‘There is now no condemnation’) has surely never enjoyed such a mesmerising volley of declamation and rich illusion over a short space as Gardiner summons, while ‘Trotz dem alten Drachen’ (‘Despite the old dragon’) spits out its irascible consonances only to be disarmingly defied by the elevated purity of ‘in gar sichrer Ruh’ (‘in confident tranquillity’) – all this in contrasting tableaux of ever-surprising emotional impact. Only 2 available and it's in 1 person's cart. Fournier seems to me to have possessed all the virtues of his fellow cellists without yielding to any of their self-indulgences; irrelevant personal idiosyncrasies are never allowed to intrude these finely sustained performances. Forget it. The two make a fine match. This is another very fine performance, emphasising the predominating gentle lyricism but with plenty of vigour and panache when required. Yes, there are fine-tipped details and prominent emphases (sample the wildly accentuated bass-line in Variation 8), but the way themes are traced and followed through suggests a performance where the shape of a phrase is dictated mostly by its place in the larger scheme of things. Perahia and Casals, though temperamentally very different, have in common a sense of bringing across Bach the man rather than Bach the god. If on the piano, however, which isn’t a second-best, I incline to those exponents who are not apologetic about their instrument and at the same time show awareness, relish even, of what the best harpsichordists have achieved, from Gustav Leonhardt to Andreas Staier (I mention two exceptional players who have made complete sets). If Ibragimova is occasionally caught between two stools in whether (or not) to follow her instincts, the best performances are brazenly alive, responsive and unselfconscious, underpinned by the soft-grained luxuriance of the lute continuo (note the assuaging sweet-and-sour hues of the slow movements of both the A minor and E major concertos, BWV1041 & 42) and a highly modulated use of dynamics. Even the most apparently unassuming numbers, such as the Second Bourrée of the First Suite or the Passepied II of the Fifth, gain a sense of intrigue as he re examines them from every angle, again bringing multifarious shadings to the music. It is an approach that could run the risk of being boring were it not that Pinnock’s ability to place every note precisely and sensitively – helped by an instrument (or is it the recording?) But to describe any of these figures as merely ‘intellectual’ would be to miss out the huge humanity of their playing. Gramophone’s Choice: Steven Isserlis (English, Hyperion) My Choice: Jean-Guihen … The only period recording to touch Podger and Pinnock for technical assurance is that of Fabio Biondi and Rinaldo Alessandrini, but in both sound and interpretation it is heavy-handed compared with the spontaneous musicianship and airy texture on display here, and rather meanly it gives the six obbligato sonatas only. Birthplace of the Victor. And so it continues: almost as if Ólafsson is offering different angles on the statue of Bach that he keeps by his piano – one that ‘looks like wisdom incarnate, stern-faced and majestic in its wig’. Following the overwhelming popularity of our lists of the 50 greatest Mozart recordings and 50 greatest Beethoven recordings, we are proud to present 50 of the finest recordings of JS Bach's music. The galant character adopted by Butt’s elegant harpsichord continuo, Patrick Beaugiraud’s poignant oboe and tasteful strings during “Qui sedes” proceeds without pause into “Quoniam”; Anneke Scott’s sparky horn playing and Matthew Brook’s conversational authority conspire to take no prisoners, and the momentum carries through into a knock-out “Cum Sancto Spiritu”. A quite wonderful CD. The pairing is a sensible idea shared with previous discs from Leonhardt, Rilling and Suzuki but that need not dissuade anyone from savouring these outstanding performances. She takes the Giga at a restrained pace that allows of all kinds of tiny rhythmic nuances. The Wayback Machine calls their endeavor The Great 78 Project, and it features a staggering collection of more than 25,000 digitized 78rpm recordings.They prove a great way to experience history. David Vickers (May 2011), Monteverdi Choir, English Baroque Soloists / John Eliot Gardiner. I look forward to Book 2. Perhaps no pianist since Charles Rosen has so persuasively demonstrated that this contrapuntal encyclopedia is to be heard as well as read. He recorded it several times, mainly in mono versions available from companies such as Russian Disc. Lionel Salter (March 1989). Lindsay Kemp (February 2001). Gilchrist almost whispers the yearningly beautiful tenor part of “Sanfte soll mein Todeskummer” and the aria is all the more special because of Halls’s expressive handling of the delicate pastoral accompaniment of recorders and muted strings; I’ve heard many lovely performances of this aria but do not recall hearing the text communicated with such heart-rending consolation as this. 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